,,the ,,writing ,,of ,,the     ,,short  
,,story      ,,by      ,,lewis          
,,worthington ,,smith1 ,a4,m4           
,,drake ,,university1 ,,des ,,moines1   
,,iowa      ,d4 ,c4 ,,heath  ,,co41     
,,publishers     ,,boston  ,,new ,,york 
,,chicago       ,,copyright1 #aijb1     
,,by ,d4 ,c4 ,,heath  ,,co4         ,,it
 ,,is ,a ,,pleasure ,,to ,,be           
,,permitted ,,to ,,associate      ,,with
 ,,this ,,little ,,book ,,the ,,name    
,,of ,,my ,,friend                      
,,professor ,l4 ,a4 ,,sherman           
,,of ,,the ,,university ,,of ,,nebraska4
     ,,suggestions ,,for ,,teachers     
,in the author's classes the three      
stories in the volume entitled ,three   
,hundred ,dollars are first studied     
because of their simplicity1 and these  
are followed by parts of ,the ,bonnie   
,brier ,bush1 and then by the stories   
from ,bret ,harte4 ,mrs4 ,phelps ,ward's
 ,loveliness is especially valuable for 
illustrating methods and devices for    
making a simple theme dramatically      

interesting4 ,students are required to  
mark stories with the symbols and       
discuss them with reference to the      
principles of which this little book is 
an exposition1 but no recitation on the 
book itself is required4 ,perhaps       
one-third of the time in the class-room 
is spent in discussion of the short     
themes written by the class1 and when   
convenient these are placed on the board
 before the class for that purpose4 ,in 
the theme work following the suggested  
subjects the effort is made to confine  
instruction and practice to one thing at
 a time1 but at the conclusion of the   
work of the term each member of the     
class is required to hand in a complete 
original story4     ,,the ,,writing ,,of
 ,,the ,,short ,,story  ,,narrative     
,,forms   #a4 ,elements of the          
,story4--,this little volume is meant to
 be a discussion of but one of the      
various forms that literature takes1 and
 it will be first in order to see what  
are the elements that go to the making  

of a narrative having literary quality4 
,a story may be true or false1 but we   
shall here be concerned primarily with  
fiction1 and with fiction of no great   
length4 ,in writing of this sort the    
first essential is that something shall 
happen2 a story without a succession of 
incidents of some kind is inconceivable4
 ,we may then settle upon incident as a 
first element4 ,as a mere matter of     
possibility a story may be written      
without any interest other than that of 
incident1 but a story dealing with men  
will not have much interest for         
thoughtful readers unless it also       
includes some showing of character4     
,further1 as the lives of all men and   
women are more or less conditioned by   
their surroundings and circumstance1 any
 story will require more or less        
description4 ,incidents are of but      
little moment1 character showing may    
have but slight interest1 description is
 purposeless1 unless the happenings of  
the story develop in the characters     

feelings toward which we assume some    
attitude of sympathy or opposition4     
,including this fourth element of the   
story1 we shall then have incident1     
description1 character1 mood1 as the    
first elements of the narrative form4   
#b4 ,a ,succession of ,incidents        
,required4--,a series of unconnected    
happenings may be interesting merely    
from the unexpectedness--or the hurry   
and movement of the events1 but         
ordinarily a story gains greatly in its 
appeal to the reader through having its 
separate incidents developed in some    
sort of organic unity4 ,the handling of 
incidents for a definite effect gives   
what we call plot4 ,a plot should work  
steadily forward to the end or          
denouement1 and should yet conceal that 
end in order that interest may be       
maintained to the close4 ,evidently a   
writer who from the first has in mind   
the outcome of his story will           
subordinate the separate incidents to   
that main purpose and so in that        

controlling motive give unity to the    
whole plot4 ,further1 the interest in   
the plot will be put on a higher plane1 
if in the transition from incident to   
incident there is seen1 not chance      
simply1 but some relation of cause and  
effect4 ,when the unfolding of the plot 
is thus orderly in its development1 the 
reader feels his kindling interest going
 forward to the outcome with a keener   
relish because of the quickening of     
thought1 as well as of emotion1 in      
piecing together the details that arouse
 a glow of satisfaction4  #c4 ,the      
,character ,interest4--,we can hardly   
have any vital interest in a story apart
 from an interest in the characters4 ,it
 is because things happen to them1      
because we are glad of their good       
fortune or apprehensive of evil for     
them1 that the incidents in their       
succession gain importance in our       
emotions4 ,we are concerned with things 
that affect our lives1 and secondarily  
with things that affect the lives of    

others1 since what touches the fortunes 
of others is but a part of that complex 
web of destiny and environment in which 
our own lives are enmeshed4 ,in the     
story it is not so true as in the drama 
that1 for the going out of our          
sympathies toward the hero or the       
heroine1 there should be other          
contrasting characters2 but a story     
gains color and movement from having a  
variety of individualities4 ,especially 
if the story is one of action1 definite 
sympathies are heightened when they are 
accompanied by emotional antagonisms4   
,in ,the ,master of ,ballantrae1 we come
 to take sides with ,henry ,durrie      
almost wholly through having found his  
rival1 the ,master1 so black a monster4 
,such establishment of a common bond of 
interest between us and the character   
with whom our sympathies are to be      
engaged is a most effective means of    
holding us to a personal involvement in 
the development of the plot4 ,there must
 not be too many characters shown1 the  

relations between them must not be too  
various or too complexly conflicting1   
but where the interplay of feeling and  
clashing motives is not too hard to     
grasp1 a variety of characters gives    
life and warmth of human interest to a  
story4  #d4 ,uses of                    
,description4--,inasmuch as there are   
other interests in our lives than those 
which are established by our relations  
with our fellows1 interests connected   
with the material world about us1 any   
narrative will probably have occasion to
 include some description4 ,it may be   
necessary merely as an aid to our       
understanding of some of the details    
upon which the plot turns1 it may help  
us to realize the personalities of the  
characters1 and it is often useful in   
creating background and atmosphere1     
giving us some of the feelings of those 
with whom the story deals as they look  
upon the beauty1 or the gray dullness1  
of the changing panorama of their lives4
 ,stevenson's description of the old    

sea-dog in ,treasure ,island is an      
excellent illustration of the           
effectiveness of a few lines of         
description in making us know something 
very definite in the man4      ,i       
remember him as if it were yesterday1 as
 he came plodding to     the inn door1  
his sea-chest following behind him in a 
handbarrow1 a tall1 strong1 heavy1      
nut-brown man2 his hands     ragged and 
scarred1 with black1 broken nails1 and  
the saber cut     across one cheek1 a   
lurid white4  #e4 ,rossetti in ,the     
,bride's ,prelude1 a story in verse1    
after merely glancing at the opening of 
the tale1 devotes eight stanzas to      
description introduced for the purpose  
of background and atmosphere4 ,two of   
them are given here4      ,within the   
window's heaped recess        ,the light
 was counterchanged      ,in blent      
reflexes manifold      ,from perfume    
caskets of wrought gold      ,and gems  
the bride's hair could not hold         
,all thrust together3 and with these    

,a slim-curved lute1 which now1      ,at
 ,amelotte's sudden passing there1      
,was swept in some wise unaware1        
,and shook to music the close air4      
,this helps us to enter into the life   
and spirit of the time and place1 to    
conceive imaginatively the likings1 the 
desires1 the passions1 the purposes1 and
 the powers that shall be potent in the 
story4  #f4 ,kinds of                   
,description4--,description is primarily
 of two kinds1 that which is to give    
accurate information1 and that which is 
to produce a definite impression not    
necessarily involving exactness of      
imagery4 ,the first of these forms is   
useful simply in the way of explanation1
 serving the first purpose indicated in 
paragraph four4 ,the second is useful   
for other purposes than that of         
exposition1 often appealing incidentally
 to our sense of the beautiful1 and     
requiring always nice literary skill in 
its management4 ,it should be borne in  
mind always that literary description   

must not usurp the office of            
representations of the material in the  
plastic arts4 ,it should not be employed
 as an end in itself1 but only as       
subsidiary to other ends4  #g4 ,various 
,moods as ,incidents4--,the moods in the
 characters of a story and their changes
 are connected with the incidents of the
 story1 since they are in part          
happenings1 and with the characters1    
since they reveal character4 ,apart from
 direct statement of them1 we understand
 the moods of the actors in the little  
drama which we are made to imagine is   
being played before us from the things  
they say1 from the things they do1 and  
from gestures1 attitudes1 movements1    
which the author visualizes for us4 ,if 
these moods are not made clear to us or 
we cannot see that they are natural1    
definite reactions from previous        
happenings in accord with character1 we 
do not have a sense of organic unity in 
the narrative4 ,we become confused in   
trying to establish the dependence of   

incident and feeling upon something     
preceding1 and our interest flags4      
,everything that happens in a well-told 
story gives us feelings which we look to
 find in those whom the happenings      
affect in the tale1 feelings which      
should call forth some sort of          
responsive action for our satisfaction4 
,clearly1 if the characters are cold1 if
 we cannot find in them moods of the    
kind and intensity that to us seem      
warranted1 the story will be a          
disappointment4     ,,literary          
,,divisions ,,and ,,general ,,principles
   #h4 ,the ,conceptual and             
,emotional4--,theoretically all writing 
is divided easily into two classes1     
conceptual and emotional1 the literature
 of thought and the literature of       
feeling4 ,in the actual attempt to      
classify written composition on this    
basis1 however1 no sharp distinction can
 be maintained4 ,even matters of fact1  
certainly such matters of fact as we    
care to write about1 are of more or less

 moment to us2 we cannot deal with them 
in a wholly unemotional way4 ,in our    
daily lives we are continually reaching 
conclusions that differ from the        
conclusions reached by others about the 
same matters of fact1 and are trying to 
make these matters of fact have the same
 value for others that they have for us4
 ,this is true of our business life as  
well as of our social and home life4 ,it
 always will be so4 ,it is doubtless    
true that if our knowledge of matters of
 fact embraced a knowledge of the       
universe1 and if the experience of each 
of us were just like that of his fellow 
and included all possible experience1 we
 might reach identical conclusions4     
,this is not true and never can be true4
 ,it is in effect true of a small       
portion of the things about which we    
think1--the addition of one to two makes
 three for every one1--but outside of   
these things1 writing need not be and   
seldom is purely conceptual4  #i4       
,subject-matter4--,various as are the   

things about which we write and manifold
 as are our interests in them1 they may 
be classified for our purposes under    
four heads3 ,matters of ,fact1          
,experience1 ,beauty1 ,truth4 ,again1 we
 shall find difficulty in separating    
each of these from each of the others4  
,some of our experiences have certainly 
been revelations of matters of fact2    
without our experiences1 we should      
hardly have acquired any real sense of  
the beautiful2 save for them we could   
not have known anything of truth4 ,no   
accurate definition of these things     
carefully distinguishing between them   
can be attempted here4 ,it may be       
assumed that what is meant by matters of
 fact will be understood without        
definition4 ,as we read the story in    
great measure for the purpose of        
enlarging our experience1 this part of  
our possible literary material is worth 
considering further4 ,in the child we   
are able to detect very early a growing 
curiosity4 ,that curiosity does not     

disappear when the child has grown from 
boy to man2 he is still asking questions
 of the universe1 still trying to piece 
the fragments of his knowledge into a   
law-ordered and will-ordered whole4     
,what he knows has been the product of  
experience1 what he may yet know further
 must be the product of experience4     
,this experience may not all be         
personal1 but even that which he gets at
 second hand is so far useful in helping
 him toward that understanding of the   
universe for which he hopes4 ,he never  
will reach that understanding1 all his  
experience will make but a fraction of  
things to be known matters of fact to   
him2 and yet a deathless interest in the
 scarcely recognized belief that the    
facts and forces of which he has known  
have some unifying principle makes his  
emotions quicken at every new experience
 that may have possible significance4   
#aj4 ,appeal of ,experience1 ,beauty1   
and ,truth4--,it will be evident1 then1 
that experience which somehow makes the 

impression of superior importance may be
 presented inorganically and yet gain an
 interested hearing4 ,the method of     
creating this impression1 whether       
through the appearance of conviction in 
the writer or by various literary       
devices1 need not detain us here4 ,we   
shall be concerned merely with noting   
that the possible relation of the       
particular to the general1 of this      
experience to the whole of experience1  
makes it a thing of moment4 ,in just    
what way experience develops in us the  
sense of the beautiful1 just what it is 
in anything that makes us distinguish   
beauty in it1 cannot now be determined4 
,it will be enough for us to know that  
literature makes a large appeal to a    
sense of the beautiful in us1 a sense   
not fortuitous and irrational1 though   
varying1 but normal and almost          
universal1 dependent upon natural laws  
of development4 ,truth is also difficult
 of definition1 but we may understand   
that when out of experience1 as through 

a process of reasoning1 we have reached 
a conclusion that is something more than
 a matter of fact1 a conclusion touching
 our emotions and having vital spiritual
 interest to us1 the experience1 whether
 our own directly or at second hand1 has
 brought us to a truth4 ,truth is1      
perhaps1 that matter of fact of         
universal intelligence that transcends  
the matter of fact of the finite mind4  
#aa4 ,literary ,principles and          
,qualities4--,there are some fundamental
 principles of literary presentation    
which we may briefly review here4 ,all  
our study of science1 and in a less     
obvious fashion1 of all the physical1   
social1 and artistic world about us1 is 
more or less an attempt to classify1    
simplify1 and unify facts whose         
relations we do not see at a glance4 ,we
 must observe and learn the facts first1
 but they will be of no great utility to
 us as unrelated items of knowledge4    
,the need of establishing some sort of  
law and order in our understanding of   

the mass of phenomena of which we must  
take cognizance is so insistent that we 
early acquire the habit of attempting to
 hold in mind any new fact through its  
relation to some other fact or facts4   
,in other words1 we can retain the      
knowledge we acquire only by making one 
fact do duty for a great many other     
facts included in it4 ,our writing must 
not violate what is at once a necessity 
and a pleasure of the mind4 ,unity1     
simplicity1 coherence1 harmony1 or      
congruity1 must all be sought as        
essential qualities of any writing4 ,we 
must also indicate our sense of the     
relative values of the things with which
 we deal by a proper selection of       
details for presentation1 a careful     
subordination of the less important to  
the more important through the          
proportion of space and attention given 
to each1 and through other devices for  
securing emphasis4 ,let us keep in mind 
value1 selection1 subordination1        
proportion1 emphasis1 as a second group 

of terms for principles involved in     
writing4 ,we may also wish to give our  
subject further elements of appeal      
through what may be suggested beyond the
 telling1 through the melody and rhythm 
of the words1 or through a quickening of
 the sense of the beautiful4            
,suggestion1 melody1 rhythm1 beauty1 are
 to be included1 then1 in a third group 
of qualities that may contribute to the 
effectiveness of what we write4  #ab4   
,conceptual ,writing4--,of the literary 
qualities that have just been discussed1
 only the first group is perhaps        
essential to what has been designated as
 conceptual writing4 ,here we may place 
expository writing on subjects wholly   
matter of fact1 mathematical            
discussions1 scientific treatises       
largely1 though not necessarily1 and    
other writing of like character4 ,as    
unity is the quality of importance here1
 we may well consider the units of      
discourse4 ,our first unit is that of   
the whole composition1 the second that  

of the paragraph1 and the third that of 
the sentence4 ,which of these is the    
prime unit1 as the dollar is the prime  
unit of our medium of exchange1 may not 
be evident at once2 but if we examine   
the writing of clear thinkers carefully1
 without attempting to settle the matter
 in any doctrinaire fashion1 we shall   
find that the paragraph1 and not the    
sentence1 is the more unified whole4 ,i 
turn to ,cardinal ,newman1 and in the   
middle of a paragraph find the sentence1
 ,this should be carefully observed1 a  
sentence meaningless when taken from the
 context4 ,as a part of the paragraph it
 has a function1 but it is certainly as 
a unit of detail and not as a prime     
unit4 ,a writer like ,carlyle makes     
these lesser units more important1 but  
they are still subordinate to their use 
in the paragraph4 ,in all our writing we
 shall do much for the unity1           
simplicity1 and coherence of our work by
 seeing to it that our paragraphs are   
properly arranged and that each fulfills

 this function of a prime unit in the   
composition4  #ac4 ,the ,sense of       
,value4--,when1 in addition to statement
 of mere matters of fact1 an author     
wishes to impress his readers with his  
own sense of the importance and the     
value of what he has to say1 or of some 
special phase of his subject1 he will   
employ the principles of the second     
group spoken of in a preceding          
paragraph4 ,they cannot be ignored1     
indeed1 in explanation of the simplest  
matters of fact1 but a writer who means 
to convince and persuade will make more 
use of them4 ,his personality will      
express itself in the selection of      
details and in the emphasis he places   
upon one detail or another4 ,among the  
literary forms which1 besides being     
conceptual1 are also concerned with     
persuasion1 we find the oration1 the    
essay1 a great deal of business         
correspondence1 and much of what we read
 in magazines and newspapers4  #ad4     
,writing having ,artistic               

,quality4--,when in addition to         
expressing matters of fact or truth1    
appealing perhaps to experience1 we wish
 to arouse some sense of the beautiful  
and the artistic1 we shall give our     
writing some or all of the qualities of 
the third group4 ,evidently1 writing of 
this sort is in many respects the most  
difficult1 since the writer must have   
regard for unity and the related        
principles1 as well as for the qualities
 which peculiarly distinguish it4       
,experience1 beauty1 and truth are all  
available as subject-matter1 and all the
 principles governing literary          
composition are concerned4 ,here we     
shall find the poem1 the drama1 the     
oration in some of its forms1 most      
essays of the better sort1 the greater  
part of good critical writing1 literary 
description1 and all narrative forms    
except the matter-of-fact historical    
writing of unliterary scholars4  #ae4   
,two ,things ,requisite in              
,writing4--,it is to be borne in mind   

that the foregoing classifications are  
by no means absolute4 ,gardiner in his  
,forms of ,prose ,literature says very  
truly that the essential elements1 not  
only of literature1 but of all the fine 
arts1 are3 first1 an organic unity of   
conception2 and second1 the pervasive   
personality of the artist4 ,it is true  
that much of our writing does not aspire
 to literary character1 but in very     
little of our writing of any sort can we
 afford to neglect the first of these   
elements1 and in very little of it do we
 care to leave the second out of        
account4 ,even in exposition of the     
simpler sort we may give to our writing 
the distinction of a more luminous style
 and the stronger appeal of a warmer    
personal interest1 if we shape it into  
organic unity and make evident in it the
 pervasive personality of the artist4   
,,the ,,story ,,in ,,particular   #af4  
,the ,art of the ,story4--,however      
abstract the thinking of civilized man  
may become1 all our intelligence1 to    

quote ,ladd's ,outlines of              
,physiological ,psychology1 is          
intelligence about something or other1  
444 resting on a basis of sensations and
 volitions4 ,difficult as it is and     
difficult as are the problems involved  
in its construction1 the story is from  
some points of view the most elementary 
of literary forms4 ,it is concerned     
directly with matters of sensation and  
volition4 ,if it is to play upon our    
emotions1 it must revive sensations and 
volitions1 make us in some degree part  
of the action4 ,experience is at once   
its warp and woof1 but while it gives us
 new experiences1 it must1 in connection
 with them1 revive old ones and so      
become tangible and real for us4  ,of   
the memories that have come to us       
through the senses of sight1 hearing1   
touch1 smell1 and taste1 those that are 
visual are probably the most clearly    
defined and persistent for most people4 
,the sensation of hearing doubtless     
comes next1 and then those of touch1    

smell1 and taste4 ,a name will suffice  
to make us see the face of an absent    
friend2 a few words1 or the sight of a  
music roll1 is enough to make us hear a 
favorite melody2 a line or two on a     
printed page brings back to us the scent
 of the hayfield or the heavy odor of   
hyacinths in a conservatory4 ,we must   
remember1 too1 that this may be in each 
case1 not simply a bringing back of the 
idea of the things1 but a reviving of   
the sensations themselves4 ,the seat of 
sensation is after all the brain4       
,originally we experience sensation     
through some excitation of the end      
organs of sense1 the ear1 the nerves of 
touch1 the retina2 but these sensations 
become associated with verbal images in 
the mind1 and finally the excitation of 
the verbal images results also in the   
revival of the original sensation4      
,there is perhaps no one of us who has  
not seen wholly imaginary moving shadows
 or flashing lights in the dark4 ,such  
cases are not good illustrations of the 

point1 possibly1 but most of us can at  
will hear a connected succession of     
notes with which we have familiarized   
ourselves4 ,in my own recent experience 
there occurred a very clear and wholly  
unexpected subjective sense of smell    
when reading of an experiment with frogs
 which recalled the distinctive odor of 
slimy water4 ,mr4 ,james ,sully1 in     
,illusions1 says1 ,stories are told of  
portrait painters who could summon      
visual images of their sitters with a   
vividness equal to that of reality1 and 
serving all the purposes of their art4  
,the same writer says again1 and this is
 peculiarly significant1 that the       
physiologist ,gruithuisen had a dream in
 which the principal feature was a      
violet flame1 and which left behind it1 
after waking for an appreciable         
duration1 a complementary image of a    
yellow spot4 ,here a purely subjective  
impression had been reproduced in the   
nerves of sense4  #ag4 ,the ,place of   
,sensation in ,writing4--,the thing that

 it seems important to dwell upon here  
is that subjective sensations do go out 
from the brain and stimulate in a very  
real fashion the sensations that are    
naturally excited by external stimuli   
localizing themselves in the end organs 
of sense4 ,as these sensations1 while   
not the all of emotion1 are largely     
involved in emotion as its more poignant
 element1 and as emotion is a first     
requisite in the appeal of a story1 it  
is evident that the writer of stories   
will do well to acquire the art of      
reviving sensations4 ,further1 as in the
 quickening of sensations our ideas     
become more tangible and real1 writers  
who employ other literary forms will    
find that their style gains clarity and 
distinction by a like appeal to         
sensation when possible4 ,just how      
successful story-writers make appeal to 
sensation1 revive experience1 give new  
experience1 and touch the sense of the  
beautiful is to be taken up more        
definitely in the following pages4 ,we  

can understand1 of course1 that         
subjective sensations are not as strong 
as those which we experience directly1  
but on the other hand they may be more  
varied1 they may crowd in upon us more  
rapidly1 they may be more congruously   
chosen for a definite effect than in our
 actual life4 ,the total effect may then
 be no less pronounced4 ,in discovering 
how this is brought about we shall find 
the art of the short story4             
,,special ,,study ,,of ,,the ,,story    
#ah4 ,symbols for ,visualization4--,on  
analyzing a story for the purpose of    
discovering the elements of which it is 
composed1 and the kind and degree of    
appeal which they have for us1 we shall 
find it convenient to employ a few      
symbols for the purpose of labeling our 
findings for discussion in the class    
room4 ,some of the directions which we  
make will be based upon differences in  
the way in which the things presented   
are effective in our minds1 others upon 
differences in the things presented1    

themselves4 ,first we shall work with   
symbols of description and              
visualization1 of which for convenience 
we may distinguish four sorts shading   
one into the other1 not clearly defined1
 and yet worth discussing1 that we may  
cultivate a sharper sense of qualities  
of effectiveness in visualization4 ,for 
these four sorts of visualization we may
 employ the symbols1 ,v#a1 ,v#b1 ,v#c1  
,,vb#c4 ,for the first of these the     
symbol ,v#a is not very satisfactory1   
since we will employ it for simple      
description which presents rather the   
idea of the thing than a mental picture1
 but it will perhaps be simpler to use  
it than to use a symbol for the word    
description4 ,having in mind the idea of
 a thing1 we may by mental effort1 if   
the idea is defined with sufficient     
clearness1 call up the image of the     
object4 ,v#b is the symbol for a        
visualization through a suggestion which
 the mind1 by reason of the interest    
kindled1 fills out to something more    

than the mere idea1 more or less        
definite imagery resulting4 ,in the ,v#c
 form1 we are1 as it were1 compelled to 
see the image without mental effort1 so 
swiftly and surely do the verbal memory 
images reestablish old sensations or    
combine with old sensations to the      
formation of new4 ,in the fourth form1  
we will add the ,b 7,beauty7 when the   
image which we see is such as to appeal 
pleasurably to the aesthetic sense4     
,that there should be perfect agreement 
in the use of any one of these symbols  
in any particular case is1 of course1   
not to be expected4 ,our individual     
experiences have been so different and  
the associations of sensation are so    
varied that the character and intensity 
of any visualization must differ in each
 individual4 ,this1 of course1 is one of
 the things that complicate the problem 
of literary composition and make study  
of these things of particular           
importance4  #ai4 ,audition and ,other  
,sensations4--,as the problem of        

audition is of less moment than that of 
visualization1 we will make but the one 
distinction between such presentation of
 sound as calls up the idea of the sound
 only1 a#a and such as produces in us   
the sense of the sound itself1 a#b1     
premising that any one who chooses may  
make the three divisions preceding4     
,appeals to the other senses as         
occurring less often1 we may group      
together under the symbol ,s1 using #a  
with this1 as with a1 when it comes to  
us in the conceptual way1 and #b when it
 comes as an excitant of sensation4     
#bj4 ,instances of                      
,visualization4--,before we go farther1 
it will be well to examine briefly an   
example or two of literary description4 
,the rim of the sun was burning the     
hilltops1 and already      ,v#b     the 
vanguard of his strength stemming the   
morning mists1     when ,i and my       
companion first trod the dust of a small
         ,v#b     town which stood in   
our path4 ,it still lay very hard and   

white1 however1 and sharply edged to its
 girdle of olive       ,v#a     and     
mulberry trees drenched in dew1 a       
compactly folded     town well fortified
 by strong walls and many towers1 with  
the mist upon it and softly over it like
 a veil4 ,for it        ,v#b     lay    
well under the shade of the hills       
awaiting the sun's     coming4 ,in the  
streets1 though they were by no means   
,v#a     asleep1 but1 contrariwise1 busy
 with the traffic of men        ,s#b    
and pack mules1 there was a shrewd bite 
as of night air2       ,v#b     looking 
up we could perceive how faint the blue 
of the     sky was1 and the cloud-flaw  
how rosy yet with the flush     of      
,aurora's beauty-sleep4 ,therefore we   
were glad to get     into the market    
place1 filled with people and set around
     with goodly brick buildings1 and to
 feel the light and         ,s#b        
warmth steal about our limbs4           
--,,maurice ,,hewlett1 ,earthwork out of
 ,tuscany4  ,here we shall first use the

 symbol ,v#b1 because the image         
presented is one that appeals at once to
 experience1 experience too that has not
 been dimmed by frequence4 ,the instant 
when the rim of the sun comes up bright 
and red is the instant when our         
expectation is most kindled toward the  
glory of the dawn and of the day which  
it foretokens4 ,the vanguard of his     
strength in the next clause suggests the
 purely fanciful4 ,this mixture of the  
concrete and the abstract does not go   
back to sensation1 a thing worth noting 
and so the visualization is destroyed4  
,the dependent clause brings up a new   
visualization1 a ,v#b1 in the dust of a 
small town4 ,the second sentence is     
,v#a1 until the close when it becomes   
,v#b through the quickening of memories 
that have been emotional4 ,the vagueness
 of a village hidden in the mist has    
appealed to our imagination in the      
assurance of a something unknown4 ,the  
next sentence is ,v#a1 and so also is   
the next until in the shrewd bite as of 

night air we get an ,s#b4 ,the ,v#b of  
the faint blue of the sky is destroyed1 
as in the first sentence1 by the merely 
intellectual playing of fancy in        
,aurora's beauty-sleep4 ,the next       
sentence gives us an ,s#b in the closing
 clause1 for which the two preceding    
have been a preparation4      ,solemn   
and vast at all times1 in spite of      
pettiness in the near     details1 the  
impression becomes more solemn and vast 
towards     evening4 ,the sun goes down1
 a swollen orange1 as it were1 into     
the sea4 ,a blue-clad peasant rides     
home1 with a harrow smoking     behind  
him among the dry clods4  ,in this from 
,robert ,louis ,stevenson the last      
sentence brings the description to a    
,v#c2 the smoking harrow is suggestive  
of so much more than the cloud of dust  
that has not yet settled to the earth in
 the stillness of the approaching       
twilight when the work of the day is    
done4  #ba4 ,motor ,effects of          
,visualization4--,there is another way  

in which things seen touch sensation4   
,look at a picture of the ,laocoon for a
 moment4 ,fix your eyes upon the        
contortions of the limbs1 see the agony 
of the face1 note the fangs of the      
serpent ready to embed themselves in the
 flesh4 ,while fastening these fearful  
details in your mind have you not felt  
some of the horror of it1 and has not   
that feeling shown a tendency to        
innervate some of the muscles1 has not  
your face shown some of the suffering   
which you have been studying1 and have  
you not felt a tendency toward the      
muscular movements of one writhing in   
agony8 ,certainly1 such motor impulses  
do result from certain kinds of         
visualization1 and it need hardly be    
said that they are peculiarly effective 
in making us really alive with the      
emotion which inheres in the movement or
 the attitude which we see4 ,if the     
gestures of a speaker are to be         
effective1 they must seem natural to us2
 that is1 they must be such as we would 

make if we were in that fashion         
attempting to express a similar emotion4
 ,otherwise the motor suggestions of the
 words and the motor suggestion of the  
gestures may inhibit or neutralize each 
other1 or at least produce a feeling of 
confusion4 ,halleck1 in his ,education  
of the ,central ,nervous ,system1 says1 
,all states of consciousness contain a  
motor element4 ,when a visualization or 
an audition1 as that of a sharp command1
 seems to have motor effects1 we may add
 to the symbols of kind and degree of   
sensation the symbol x4  #bb4 ,inference
 in ,literature4--,it was apparent in   
the visualization quoted from ,stevenson
 that some of the impressions which we  
get from literature we get as           
inferences4 ,dust does not arise from a 
harrow so as to have the appearance of  
smoke on a windy day1 and therefore we  
know that it is quiet4 ,in the opening  
of a story some things must be explained
 directly1 and for such explanatory     
matter1 matter from which we infer      

nothing beyond the statement1 we will   
employ the symbol ,exp42 but for other  
presentation of matters of fact we will 
employ the symbol ,f#a4 ,from facts as  
presented--and we will use the term in a
 comprehensive sense--we may or may not 
draw inferences1 and we will distinguish
 facts from which no inference is drawn 
by the symbol ,f#a1 and those from which
 inference is drawn by the symbol ,f#b4 
,an inference may be preponderatingly   
intellectual or emotional2 we may1 when 
desirable1 add the symbol a for one and 
b for the other4 ,an inference we may   
call an effect1 and a fact as effect1   
whether the effect be emotional or      
conceptual1 is clearly more potent in a 
literary way than a mere fact4  #bc4    
,effects of ,incident and               
,mood4--,allied to the fact as effect is
 the incident which makes us know       
something more than the happening       
itself4 ,all incidents we may           
distinguish under the symbols ,in#a1    
,in#b;a1 ,in#b;b1 the secondary symbols 

having the significance as with ,f      
above4 ,mood effects are1 in general1   
more important1 and it will be worth    
while to distinguish three sorts1 m#a1  
an inference which we draw regarding the
 mood of the writer1 m#b1 a like        
inference which becomes infectious1     
creating in us in some degree a like    
feeling1 and m#c1 an effect enabling us 
to draw an inference regarding the mood 
of a character in the story4 ,in        
addition to this we shall find direct   
statement of mood1 but that we shall    
mark with some of the preceding symbols1
 generally ,f#a1 perhaps4 ,we may       
understand further that the mood effects
 are of both kind and degree4 ,when the 
showing of mood is such as to make us   
realize in it the intensity of strong   
emotion or passion1 we may indicate the 
heightening of the feeling by the       
addition of the symbol d1 using k alone1
 or with d to indicate that the         
character of the mood is shown4  #bd4   
,methods of ,characterization4--,in our 

everyday life we are continually drawing
 inferences in regard to the characters 
of those about us1 and we do the same   
thing in a story4 ,some writers tell us 
as clearly as they can the natures of   
the men and women they are revealing to 
us1 while others leave that almost      
wholly for us to conjecture4 ,we shall  
employ1 then1 two sets of symbols for   
character1 one for direct statement of  
character1 and one for character        
effects4 ,the realization of character  
through direct statement may include    
presentation of motives1 ideas1         
passions1 will1 special phases of       
development4 ,it may come through report
 of the talk of others1 or through      
statement of opinion generally          
entertained4 c#a we will use for direct 
statement of character1--,john was a    
hard old miser1--and we will add to this
 symbol the symbol a to indicate that   
this is only so far potent with us as to
 make us know the writer's understanding
 of the character merely1 b to indicate 

that we recognize the writer's feeling  
for the character but do not share it1  
and c to indicate that the writer's     
feeling for his character affects us    
sympathetically to a like feeling4      
,another group of symbols1 c#b1 c#c1 and
 c#d1 we will use for character effects1
 for such knowledge of character as we  
gain by inference4 c#b is a symbol for a
 general inference regarding a group of 
people or a community2 c#c and c#d are  
symbols for inferences regarding the    
individual1 c#c indicating the          
recognition of type or class qualities1 
c#d1 the recognition of more individual 
traits of character4 ,the distinction   
here is merely one of matter of fact1 a 
distinction not always to be made with  
sureness1 since it is one of degree     
rather than altogether one of kind4     
,when the way in which a man is good or 
cheerful or avaricious is differentiated
 for us from the way in which another   
man is good or cheerful or avaricious1  
he is so far individualized4 ,class     

characterization1 c#c1 may be found     
along with individualization4 ,the      
extreme accentuation of one or a few    
characteristics to the disregard of     
others gives the effect of              
individualization1 but we shall         
understand this as in fact type         
characterization1 since our natures are 
so complex that in almost no case can   
the conduct of any one be understood    
through knowledge of a few dominant     
traits of character4 ,individualization 
gives us intimacy of acquaintance2 type 
or class characterization makes us see  
merely the striking1 peculiar1 or       
controlling expressions of personality4 
,guy ,mannering in ,scott's ,guy        
,mannering is but a type of the         
conventional soldier4 ,tito ,milema in  
,george ,eliot's ,romola presents so    
many sides of a complex nature that we  
easily distinguish him from all other   
characters in fiction whatever4  #be4   
,the ,subjective and                    
,objective4--,writers1 in their methods 

of presentation1 may be broadly divided 
into two classes1 those who write       
subjectively and those who write        
objectively4 ,a subjective writer is one
 whose own personality1 point of view1  
feeling1 is insistent in what he writes4
 ,an objective writer1 on the other     
hand1 is one who leaves the things of   
which he makes record to produce their  
own impression1 the writer himself      
remaining an almost impassive spectator1
 telling the story with little or no    
comment4 ,chaucer1 in the prologue to   
the ,canterbury ,tales1 betrays his     
personal feeling for his characters     
continually1 and so is subjective4      
,shakespeare in his plays is objective1 
presenting all sorts of men and women   
without show of his own attitude toward 
them4  #bf4 ,interest of the ,plot and  
its ,purpose4--,we have seen that       
interest in incident is a first interest
 in the story4 ,this interest1 we must  
understand further1 is not to be        
maintained by having things happen in a 

matter regulated only by chance or the  
exigencies of the author's invention at 
the moment4 ,the unification of a story 
that results from the subordination of  
minor incidents to a final outcome is an
 essential necessity of the plot4 ,the  
plot1 indeed1 is the arrangement of     
incidents with reference to the         
denouement4 ,the development of the plot
 should be such as to indicate an end   
toward which the succession of incidents
 is tending1 and yet such as to keep the
 reader in suspense with regard to the  
nature of that end4 ,there must be      
novelty in the happenings1 and yet the  
novelty must not be so great as to keep 
the reader confused or strain belief4   
,the permanent hold upon us of a piece  
of fiction is enhanced if it embodies   
some central truth1 illustrating the    
working out of some law of life1 or     
involved in the personal attitude of the
 writer toward some problem of          
existence4 ,only dilettanteism and      
superficiality forget that an artist1   

giving the form of beauty to his        
conceptions1 is trying to make them as  
significant to others as they are to    
him1 and that aesthetic and ethical1 or 
spiritual1 significance are inextricably
 interwoven4 ,it will1 of course1 be the
 care of the artist to see that any     
didactic purpose is not obtrusive4      
,f#b;b     #a4 ,a tray of glasses was   
placed on the table with great          
solemnity by the wricht1 who made no    
sign and invited              none4 #b4 
,you might have supposed that the       
circumstance  ,f#b;b      had escaped   
the notice of the company1 so abstracted
 and              unconscious was their 
manner1 had it not been that two        
graven images a minute later are        
standing by the table4    m#ck     #c4  
,ye 'ill taste1 ,tammas1 with settled   
melancholy4    m#ck     #d4 ,na1 na2    
,i've nae incleenation the day2 it's an 
awful   ,f#b;a     dispensation1 this1  
,jeems4 #e4 ,she wuld be barely saxty4  
m#ck     #f4 ,ay1 ay1 but we maun keep  

up the body sae lang as we're           
here1 ,tammas4    c#b_/;c#d  #g4 ,weel1 
puttin' it that way1 a'm not sayin' but 
yir   m#b      richt1 yielding          
unwillingly to the force of             
circumstance4    c#d_/m#c  #h4 ,we're   
here the day and there the morn1        
,tammas4 #i4 ,she   m#c      was a fine 
wumman--,mistress ,stirton--a           
weel-livin' wumman3              this   
will be a blend1 a'm thinkin'4          
c#d_/m#c  #aj4 ,she slippit aff sudden  
in the end2 a'm judgin' it's   m#c      
frae the ,muirtown grocer2 but a body   
canna discreeminate              on a   
day like this4               #aa4 ,it   
was ,george ,howe's funeral that broke  
the custom and   ,f#b;b     closed the  
service4 #ab4 ,when ,i came into the    
garden              where the neighbors 
were gathered1 the wricht was   ,exp4m#b
 removing his tray and not a glass had  
been touched4 #ac4              ,then ,i
 guessed that ,drumtochty had a sense of
 the fitness              of things and 

was stirred to its depths4              
#ad4 ,ye saw the wricht carry in his    
tray1 said ,drumsheigh              as  
he went home from the kirkyard4    m#c;d
     #ae4 ,weel1 yon's the last sicht   
o't ye' ill get or a'm no   m#ck        
,drumsheigh4 #af4 ,i've nae objection   
masel' to a neighbor                    
tastin' at a funeral1 a' the more if    
he's come from the              upper   
end o' the pairish1 and ye ken ,i dinna 
hold wi' thae   m#c;d     teetotal fouk4
 #ag4 ,a'm ower auld in the horn to     
change noo4   m#c_/;,f#b;b #ah4 ,but    
there's times and seasons1 as the ,gude 
,buik says1              and it wud hae 
been an awfu' like business tae luik at 
a              gless in ,marget's       
,garden1 and puir ,domsie standing in   
ahent              the brier bush as if 
he cud never lift his heid again4  #bg4 
,interpretative ,application of the     
,symbols4--,a little discussion of the  
foregoing from a ,a ,scholar's ,funeral 
in the ,bonnie ,brier ,bush may serve to

 make some of these things clearer4 ,the
 fact that the wricht is silent here in 
the first sentence makes us know that   
this is the usual custom and that these 
people have an underlying sense of      
decorum4 ,sentence two has the same     
effect in their abstraction1 and this is
 emphasized again in the two graven     
images4 ,the third sentence is a mood   
effect of kind1 since we recognize the  
conventionally sobered feeling without  
the settled melancholy4 ,this is true   
again in sentence four1 and in five we  
have a fact as effect1 drawing the      
inference that they are a long-lived    
race in ,drumtochty4 ,from the yielding 
to an invitation so framed as to put    
aside the semblance of yielding to      
inclination1 we get a knowledge of      
character which seems to us individual1 
but which is used by the author to      
indicate a local community              
characteristic4 ,the author's mood of   
amused observation is evident here1 too1
 in his unbelieving acquiescence in     

,tammas's point of view4 ,in sentences  
eight and nine we come to know ,jeems in
 a more individual way1 through the     
mingling in him of moods of conventional
 solemnity and everyday discussion4     
,this is repeated in sentence ten4 ,in  
sentence twelve we draw an emotional    
inference concerning the degree of their
 feeling from the fact that not a glass 
had been touched4 ,this is told in the  
explanatory way in thirteen with the    
addition of a suggestion of the author's
 sympathetic understanding and          
appreciation4 ,knowing ,drumsheigh's    
reserve1 from things that have gone     
before this in the story1 we feel that  
only strong emotion could have called   
out sentence fifteen2 and the apologetic
 tone of sixteen and seventeen indicates
 rather mood than such heightened       
feeling4 ,sentence eighteen returns to  
the mood of fifteen and sixteen1 and    
through the fact of ,domsie's standing  
ahent the brier bush reveals both       
,domsie's mood and ,drumsheigh's own in 

our knowledge of its emotional appeal to
 him4  #bh4 ,different ,forms of the    
,story4--,it is to be understood that   
certain types of the short story are not
 included in this study as not being    
available for detailed work4 ,stories in
 which the interest is almost wholly    
dependent upon the succession of        
incidents can profitably be studied only
 with relation to the plot4 ,generally  
in such cases the things that make the  
story effective will be readily         
apparent1 and they can be brought out by
 a few questions4 ,to give variety and  
interest to the work the teacher will   
occasionally find it desirable to call  
attention to stories in current         
periodicals1 requiring the class to     
bring in analyses of them showing       
structure of the plot1 methods of       
managing the reader's sympathies1       
fundamental motive of the story1 the    
treatment of character and methods of   
presenting it1 and such other things as 
seem most of moment in the story in     

question4 ,when library facilities      
permit1 it will be found worth while to 
make some comparison of the short story 
as it is now written in ,america with   
the short stories of fifty years ago and
 of the present day in ,england and     
,france4 ,no classification of stories  
is attempted here1 since such           
classification is of no particular      
moment to the writer of stories4     ,a 
,,few ,,cautions   #bi4 ,the suggestions
 that follow are phrased to cover the   
matter of visualization1 but they touch 
upon general principles which are of    
wider application4 ,it has seemed more  
convenient at this point to give them   
this specific treatment4  #cj4 ,author's
 ,purpose should be ,concealed4--,an    
attempt to bring about a visualization  
or any other artistic effect in the mind
 of the reader is foredoomed to failure 
when in any way the writer's purpose too
 evidently betrays itself as such4 ,too 
much in the way of direct statement or  
predication is one indication of such   

purpose1 and is therefore more or less  
ineffectual4 ,for effective             
visualization some sort of preparation  
of the mood or sympathies of the reader 
is generally required4 ,this1 however1  
should be concealed1 being accomplished 
through suggestion1 as is the           
visualization itself4  #ca4 ,unity in   
,visualization4--,a visualization should
 be so managed as to bring the whole    
picture1 or nearly all of it1 into the  
mind at once4 ,it is partly because it  
does not do this that the method by     
details is not generally effective4 ,a  
string of incomplete images passing     
through the mind1 each one taking the   
place of the preceding and effacing it1 
is not artistically satisfying4 ,it is  
possible to retain such separate images 
and at the end bring them together in a 
complete picture1 but this will require 
effort on the part of the reader2 and it
 is fundamentally important in all      
writing to reduce the conscious         
attention and effort of the reader to   

the lowest point4 ,only extreme literary
 art can so nullify this effort in      
effect as to make description by detail 
pleasurable1 if of any length4          
,description by detail is1 perhaps1 more
 admissible in writing having a         
meditative tone than in any other1      
except1 of course1 technical            
description4  #cb4 ,fine                
,writing4--,fine writing is especially  
to be avoided in visualization1 since   
the tone of artificiality is immediately
 destructive of the reader's confidence 
in the sincerity of the writer4 ,it     
betrays the author's purpose of         
producing an effect4 ,the appearance of 
truth free from any semblance of        
over-statement is a first requisite4    
#cc4 ,in any visualization harmony of   
detail is of prime importance4 ,even in 
describing something actually seen it   
will sometimes be necessary to leave out
 items really present1 but not of a kind
 to contribute to the general effect4   
,the saying that ,truth is stranger than

 fiction should read that fiction may   
not be as strange as truth4 ,harmony of 
mood is important1 as well as harmony of
 detail1 in the thing described4 ,if the
 picture is a quiet one1 exclamatory    
excitement on the part of the writer1   
however affecting the scene may be      
supposed to be1 will prevent its        
becoming real to the reader4 ,these     
things are1 then1 to be borne in mind   
with regard to the elements of a        
visualization3 the details presented    
must be so far true to common knowledge 
and experience as to gain ready belief1 
they must have unity in fact and in     
effect1 and they must also be           
sufficiently individual to appeal to the
 mind with something of the sense of    
novelty4     ,,reference ,,table ,,of   
,,symbols       ,exp4    ,explanatory   
matter4      ,f#a   ,statement of fact  
from which no inference is drawn4       
,f#b   ,statement of fact from which an 
inference is drawn4      ,f#b;a         
,statement of fact with inference mainly

 logical4      ,f#b;b  ,statement of    
fact with inference mainly emotional4   
,in4   ,statement of incident1 secondary
 symbols as with ,f4      ,as#a         
,anticipatory suggestion1 a foretelling 
of something to                happen1  
leaving the reader in doubt as to how it
 is to                be brought about4 
,as#b  ,anticipatory suggestion1 a      
foreshowing of something                
definite to happen1 exciting the        
reader's curiosity to                   
know what it is and how it is to be     
brought about4      ,as#c  ,anticipatory
 suggestion1 a foreshadowing of         
something                to be expected 
in the way of character development and 
consequent happening4      ,v#a         
,description in which the mere idea of  
the thing                described is   
presented4      ,v#b   ,a kindling hint 
by which the mind is enabled to piece   
together a visualization of the object4 
,v#c   ,visualization of so vivid a kind
 as to possess the mind                 

completely4 ,this becomes      ,vb#c    
when it pleasurably affects the         
sensibilities4      ,a#a   ,audition in 
the way of simple idea of the thing to  
be                heard4      ,a#b      
,audition as a reviving of the sense of 
sound4      ,s#a   ,sensation1 the mere 
presentation of the idea of an          
appeal to one of the other senses4      
,s#b   ,sensation1 a subjective reviving
 of the sensation                itself4
      x      used to indicate that a    
subjective excitation of some one       
of the senses has motor effects1 as in  
the shiver at the                thought
 of a file upon the teeth4      m#a     
,mood effect1 from which we learn the   
feeling of the                writer    
without experiencing it ourselves4      
m#b   ,mood effect from which we        
sympathetically experience              
the feeling of the writer4      m#c     
,mood effect1 a revelation of the       
feeling of a                character in
 the story4      c#a   ,direct statement

 of character4      c#a;a  ,direct      
statement of character that does not    
reveal the                author's      
attitude toward the character4          
c#a;b  ,direct statement in which we are
 made aware of the                      
author's attitude toward the character1 
but are not                affected by  
it4      c#a;c  ,direct statement of    
character sympathetically               
influencing us to the author's attitude 
toward the                character4    
c#b   ,character effect1                
characterization of a group or          
community of people4      c#c           
,character effect1 class or type        
characterization of                the  
individual4      c#d   ,character effect
 in the way of individualization4      d
     ,degree1 added to symbol for mood  
effect to indicate                      
intensity of the feeling4      k        
,kind1 used to indicate that the        
inference concerns itself               
with character and not intensity4       

_/     ,a symbol employed 7see section  
#bf7 to indicate that one               
inference is drawn as an ultimate       
conclusion from                another  
more immediate inference4     ,,subjects
 ,,for ,,daily ,,themes   ,subjects for 
visualization and the reviving of other 
sensations4  #a4 ,a sunset sky4 #b4 ,a  
group in the park4 #c4 ,a spring        
freshet4 #d4 ,the man at the threshing  
machine4 #e4 ,the city across the river3
 night4 #f4 ,moonlight among the hills4 
#g4 ,a city street4 #h4 ,the college    
campus4 #i4 ,eleanor's rose garden4 #aj4
 ,the witch of ,endor 7#a ,sam4 xxviii3 
#f-be74 #aa4 ,mt4 ,pelee in eruption4   
#ab4 ,the woods at night4 #ac4 ,david   
playing before ,saul4 #ad4 ,a ferny     
water course among the trees4 #ae4 ,a   
bluebird in the orchard4 #af4 ,the      
violinist4 #ag4 ,in time of apple       
blossoms4 #ah4 ,the scent of new-mown   
hay4 #ai4 ,barbara at the piano4 #bj4   
,the first watermelon4 #ba4 ,sailing    
with the wind4 #bb4 ,dawn in the        

mountains4 #bc4 ,the wind among the     
pines4 #bd4 ,the blacksmith and the     
forge4  ,subjects for presentation of   
mood4  #a4 ,uncle ,dick hears the news4 
#b4 ,balboa catches sight of the        
,pacific4 #c4 ,silas explains himself4  
#d4 ,napoleon looking back at ,moscow4  
#e4 ,congressman ,norris is refused the 
floor of the convention4 #f4 ,johnnie is
 told that he may go to the circus4 #g4 
,ethan ,allen at ,ticonderoga4 #h4      
,bamba1 king of an island in the south  
seas1 sees the first ship of the white  
man4 #i4 ,alfred meets a ,hallowe'en    
obstacle4  ,subjects for visualization  
and presentation of facts as effects4   
#a4 ,a deserted house4 #b4 ,in the      
second-hand store4 #c4 ,the railroad    
wreck4 #d4 ,the beggar at the door4 #e4 
,representative ,dongan reads a letter  
from ,the ,corners4 #f4 ,a woman at the 
station4 #g4 ,mrs4 ,humphrey's kitchen4 
#h4 ,the trail of war4  ,subjects for   
character studies4  #a4 ,the village    
oracle4 #b4 ,the landlord of the ,lion  

,inn4 #c4 ,the old stage-driver4 #d4    
,the conductor4 #e4 ,an old-fashioned   
music-master4 #f4 ,a pirate captain4 #g4
 ,a country beau4 #h4 ,deacon ,bradley4 
#i4 ,the school bully4 #aj4 ,the female 
suffragist4 #aa4 ,one of the four       
hundred4 #ab4 ,a disciple of ,mrs4      
,eddy4 #ac4 ,the man with the hoe4 #ad4 
,the scissors grinder4 #ae4 ,captain    
,doty of the police4 #af4 ,a candidate  
for office4     ,,the ,,complete ,,story
   ,the invention of situations and     
plots can hardly be a matter of         
class-room instruction4 ,if stories come
 to one1 it is well4 ,study of the      
detailed means of making them living for
 the reader will then be worth while4   
,the student should be encouraged to    
invent plots of his own1 but as a       
simplification of this difficulty1 to   
the end that some exercise in the       
writing of a complete story may be had1 
plots of some successful published      
stories are here given with suggestions 
regarding methods of treatment4   ,i    

,scene1 a saloon where both men and     
women are drinking4 ,one of     them1 a 
girl1 thinks she sees at the window the 
face of ,christ     with his tender     
eyes4 ,she leaves and will not permit   
the others     to go with her4      ,at 
a little distance she comes upon the    
stranger waiting for     her4 ,he tells 
her that when she wakes it will be to a 
new life     and she will be his1       
bidding her go to a house he points out 
and     remain for the night4 ,she      
obeys1 and the man passes into the      
shadow4      ,introductory sentence in  
the original1 giving the atmosphere of  
the story3 ,this was the story the      
mystic told4 ,concluding     sentence in
 the original1 connecting it with our   
sense of     unfathomable mysteries3    
,and this the listener gravely asked1   
',one was chosen1 the others left4 ,were
 the others less in need     of grace8' 
,divisions of the story4 #a4            
,visualizing description of the saloon  
and of the street outside through which 

the stranger passes4      #b4           
,appearance of the face at the pane and 
its effect on the     young girl 7m#c   
effect74 ,this is the difficult part of 
the     story1 and the reader can be    
made to believe in it only through      
sympathy with the girl's feeling4       
#c4 ,the talk of her companions and her 
answers 7m#c74      #d4 ,her search for 
the stranger in the night 7m#c74        
#e4 ,his talk to her when she finds him4
  ,this story in the original contains a
 little less than two thousand words4   
,it will be seen at once that unless    
handled in such fashion as to appeal    
vividly to the imagination1 a story with
 this for its theme will seem weak and  
unreal4 ,it must be made as suggestive  
as possible or it will fail4 ,it        
preaches1 but it must avoid the air of  
preaching4 ,consider carefully how you  
would present the stranger--whether     
first at the window or before--so as to 
affect the reader with a sense of       
something more than human in him4   ,,ii

      ,scene of the story is the prairie
 desert of the ,west in time of         
drouth4 ,a party of men1 including two  
who are not yet through     their work  
in an eastern college1 are riding in    
search of water1     having had none for
 two days4 ,water is found1 but shortly 
afterwards one of the two young men is  
missing4 ,the talk of the     others    
reveals the absent one's unselfishness  
and friendly     devotion to his chum4  
,soon he is seen riding up excitedly and
     beckoning4 ,the others follow him  
to a rough eminence1 where he     stops 
and listens1 imploring them to tell him 
whether they can     hear a voice       
calling4 ,when they hear it too1 he is  
assured that     he has not lost his    
reason from the thirst1 and together    
they     begin a search which results in
 their discerning a cavern in the       
side of an embankment where a man lies  
on a couch moaning for     water4 ,as   
they try to enter1 he warns them away   
with the cry of     smallpox4      ,the 

story is told to a group of friends     
gathered together of an     evening1 and
 the narrator draws from among his books
 a copy of     ,shakespeare found in the
 cavern by one of the men1 bearing on   
its fly leaf1 in addition to the owner's
 name1 the word     ,brasenose1 the name
 of one of the colleges at ,oxford4 ,the
     pathos of the story is in this last
 touch1 an ,oxford student     dying so 
loathsome a death in a strange and      
desert land1 and     dying so           
heroically4      ,divisions of the      
story4 #a4 ,visualization of the desert 
and the     men4 ,the scent of water4   
,drinking from the muddied stream4      
#b4 ,one of the young men starts off    
alone in a delirium of pain     7m#c74  
,he returns suffering from the fear that
 he has lost his     reason 7m#c74      
#c4 ,the discovery of the cave 7,v#c and
 ,f#b;b74 ,the delirious     talk of the
 sick man4 ,his sudden joy in the       
unexpected presence     of human beings 
7,v#c and m#c74 ,his final ,g'way6      

,g'way6     ,smallpox6      #d4 ,the    
narrator of the story shows the copy of 
,shakespeare and     the inscription on 
the fly leaf4  ,the story in the        
original contains about three thousand  
words4 ,it is important that the        
suffering of the men be developed at    
some length in a convincing fashion4 ,it
 serves as a preparation for the more   
terrible suffering of the one man who   
moans for water as he tears the foul    
smallpox sores4 ,this should be         
presented in as visualizing a way as    
possible and with as full showing of    
mood as may be4 ,the conclusion in      
division #d must be altogether different
 in tone from the preceding4 ,narrator  
and listeners are in a world of ease and
 comfort1 and their interest in the     
story is an interest in something       
pathetically remote4     ,,situations   
,,to ,,be ,,developed ,,into ,,plots    
7,adapted from published stories not    
original7   #a4 ,rome in the early      
centuries after ,christ4 ,three persons 

are involved1 one man and two women1 one
 of whom has just pledged troth to the  
man4 ,the man and the other woman are   
devotees of a mystic faith1 whose priest
 residing in a dark cavern in the hills 
calls now one1 now another devotee to   
pass through the void to eternal        
fellowship with ,god4  #b4 ,oklahoma at 
the time of the opening of the strip for
 settlement4 ,a man and his wife and two
 children come from ,kansas to find land
 in the strip on the day of the run4    
,they have failed in ,kansas and are    
almost out of money4 ,the husband1 who  
is to make the run for the strip on     
horseback when the signal guns are      
fired1 falls sick4  #c4 ,a lumber camp4 
,in addition to the men1 a man and his  
wife who cook and take care of the camp1
 and a half-witted chore boy4 ,the chore
 boy tries to take care of the men and  
keep them from drinking4 ,a number of   
the men go off to a neighboring town for
 a spree1 and the chore boy goes with   
them4  #d4 ,some place in the region of 

the mountain whites of the ,carolinas   
and ,tennessee4 ,a beautiful girl with a
 tinge of negro blood that does not show
 in nature1 intellectual endowment1 or  
appearance4 ,a mountain white to whom   
she is betrothed4 ,a young man from the 
,north visiting the family with whom she
 is staying is attracted by her4 ,the   
contrast of the life of the mountain    
whites to which her betrothal if        
fulfilled dooms her1 and that of the    
world of taste and culture which her    
nature demands4     ,,questions ,,on ,a 
,,doctor ,,of ,,the ,,old ,,school1     
,,from ,,the ,,bonnie ,,brier ,,bush    
,i  #a4 a4 ,what has been accomplished  
in your sympathies by this8 #b4 b4 ,has 
this been through direct statement of   
things calling for your sympathies1 or  
through effects8 c4 ,is the method      
cumulative and gradual1 or direct and   
insistent8 d4 ,would you say that the   
method here is objective or subjective8 
e4 ,what symbols do you find that you   
have employed largely1 and for what     

purpose have the devices for which two  
of these stand been employed8 f4 ,would 
you say that the author puts much or    
little meaning into his words8 ,is the  
style diffuse and thin1 or does it      
accomplish much with few words8         
,indicate a paragraph or page that      
justifies your conclusion and say how4  
g4 ,are the inferences which you are    
made to draw logical or emotional1 and  
do they seem to you delicate and subtle 
or simple and direct8 ,indicate some of 
them in confirmation of your conclusion4
   ,,ii  #a4 a4 ,do you see any change  
in the method of presenting ,mac,lure   
here8 b4 ,how is it an advance in the   
development of the story or not8 c4 ,was
 ,part ,i4 preparation for this or not1 
and if so1 how8 d4 ,does this have a    
definite climax and denouement1 and if  
so1 where8   ,,iii  #a4 a4 ,how does    
this make an advance upon the preceding 
in the revelation of ,mac,lure8 b4 ,does
 it in any way get nearer to elemental  
human feeling8 c4 ,does it anywhere     

appeal directly to sensation8 d4 ,do you
 find in this any feeling for the       
mystery of existence8 ,does it seem to  
be an integral part of the story1 coming
 from its essential emotion and free    
from obtrusive moralizing1 or not8 e4   
,is there any increase in intensity of  
feeling in this or not1 and if so1 how  
is it indicated in the symbols you have 
employed8 f4 ,has ,mac,lure now been    
presented to us with full showing of his
 distinguishing characteristics or not8 
and do we find in him a vital human     
nature8   ,,iv  #a4 a4 ,do you think a  
death-bed scene a good subject for      
literary presentation or not8 ,why8 b4  
,would you call it a difficult thing to 
present or not8 c4 ,do you find anything
 objectionable here8 d4 ,has the        
interest of the whole story depended    
upon incident or upon showing of        
character8 e4 ,does this ,part ,,iv4    
serve in any particular way to round out
 our knowledge of ,mac,lure1 and if so1 
in what way8 f4 ,what is the especially 

appealing thing in the portrait of      
,mac,lure8 ,and what in the fortune and 
circumstance of his life8 g4 ,does this 
appeal touch in any fashion upon our    
sense of a something inscrutable        
governing our lives8 h4 ,which of the   
different sorts of subject-matter 7see  
section #i7 seem to you to be the more  
largely employed here8 ,so far as it is 
concerned with experience1 is it a      
reviving of what we have experienced or 
an addition to our knowledge of life8   
,is there in it a truth that you could  
formulate into a law of life1 or is the 
truth so much a matter of emotion as    
merely to touch the sensibilities and so
 give us a wider vision8     ,,questions
 ,,on ,,loveliness1 ,,by ,,elizabeth    
,,stuart ,,phelps-,,ward  7,atlantic    
,monthly1 ,august1 #ahii7   #a4 a4 ,do  
you detect in this story any purpose    
beyond that of recounting a series of   
happenings8 ,if so1 what8 b4 ,if you    
were to write the story1 would you think
 it prospectively a difficult thing to  

arouse interest in a dog8 c4 ,has that  
been done here or not8 d4 ,if so1 what  
are some of the author's devices and how
 successfully employed8  #b4 a4 ,what is
 the artistic purpose of the first two  
paragraphs8 ,why does the author delay  
so long in telling us that she is       
writing of a dog8 b4 ,does she let her  
own feeling for the girl and dog appear 
or not8 ,if so1 is it obtrusive or not8 
,effective or not1 as your markings     
indicate8 c4 ,are there any incidents in
 the story that a reader might for any  
reason be unwilling to accept8 d4 ,if   
so1 how is the handling such as to      
disguise the difficulty or not1 as the  
case may be8  #c4 a4 ,what devices are  
employed to make us interested in ,adah8
 b4 ,are we made to feel that her       
dependence upon the dog is natural and  
deserving of sympathy or not1 and if so1
 how8 c4 ,are the incidents so managed  
as to maintain interest in the          
expectation of the denouement or not8 d4
 ,does the story seem to have sufficient

 unity of purpose and plan or not8  #d4 
a4 ,what symbols do you notice that you 
have employed most largely8 b4 ,is the  
story written in the way of direct      
statement or of suggestion8 c4 ,for what
 frequent purpose would you say that the
 writer employs ,f#b8 ,m#c8 ,m#b8 d4    
,can you say in what the art of the     
story especially consists8 e4 ,what     
would you probably have thought of the  
story were its art less delicate and    
sure8     ,,general ,,outline           
,,questions ,,for ,,study ,,of ,,stories
 ,,in ,,current ,,magazines1 ,,etc4     
#a4 a4 ,upon what is the interest of the
 story especially dependent8 b4 ,are the
 incidents presented rapidly and        
coherently1 or slowly and               
disconnectedly8 c4 ,is there a clearly  
defined plot or not8 d4 ,does the plot  
have a climax of entanglement1 or does  
it fail in developing this feature of   
the story interest8  #b4 a4 ,how is     
character presented8 b4 ,are the        
characters well chosen for their        

reactions among themselves8 c4 ,are the 
things they do and say continually      
consistent or not8 d4 ,are they         
sufficiently individualized to escape   
the appearance of the conventional and  
to hold interest8  #c4 a4 ,does the     
story state facts and happenings merely1
 or does it get hold of vital sensations
 and revive them8 b4 ,if so1 in what    
ways does it seem to do that8 c4 ,in    
general does it seem to you subjective  
or objective in method8  #d4 a4 ,how    
much of the interest of the story is in 
the development of the plot and how much
 in the stirring of vital sensations1   
including sympathetic moods8 b4 ,does   
the development of the story center     
about any idea or attitude toward life8 
c4 ,what excellences and what faults do 
you find in the story8     ,,some       
,,stories ,,available ,,for ,,study     
,five ,hundred ,dollars1 ,the ,village  
,convict1 and ,eli1 all in a volume     
under the title of the first1 ,heman    
,white ,chaplin1 ,little1 ,brown  ,co41 

#a4jj4  ,loveliness1 ,elizabeth ,stuart 
,phelps-,ward1 ,atlantic ,monthly1      
,august1 #ahii4  ,the ,flail of ,time1  
,helen ,choate ,prince1 ,atlantic       
,monthly1 ,august1 #ahii4  ,a ,christmas
 ,carol1 ,dickens1 ,cassel's ,national  
,library1 #aj cents4  ,beside the       
,bonnie ,brier ,bush1 ,ian ,mac,laren1  
,david ,c4 ,cook1 ,elgin and ,chicago1  
paper1 #e cents4  ,the ,luck of ,roaring
 ,camp1 ,tennessee's ,partner1 ,bret    
,harte1 ,houghton1 ,mifflin  ,co41      
#a4jj1 ,overland ,monthly1 ,september1  
#aijb4  ,bonaventure 7,chapters         
,,xvi-,,xviii71 ,george ,w4 ,cable1     
copyrighted1 but obtainable in a cheap  
reprint4  ,the ,game and the ,nation1   
,owen ,wister1 ,harper's ,monthly1 ,may1
 #aijj4  ,nettleton's ,specimens of the 
,short ,story1 ,henry ,holt  ,co41 #ej  
cents4     ,,books ,,that ,,may         
,,profitably ,,be ,,consulted           
,education of the ,central ,nervous     
,system1 ,r4 ,p4 ,halleck1 ,the         
,macmillan ,co4  ,the ,philosophy of the

 ,short ,story1 ,brander ,matthews1     
,longmans1 ,green  ,co4  ,the ,short    
,story1 ,yale ,studies in ,english1     
,henry ,holt  ,co4  ,forms of ,prose    
,literature1 ,j4 ,h4 ,gardiner1 ,chas4  
,scribner's ,sons4  ,working ,principles
 of ,rhetoric1 ,j4 ,f4 ,genung1 ,ginn   
,co4  ,outline of ,psychology1 ,e4 ,b4  
,titchener1 ,the ,macmillan ,co4  ,short
 ,story ,writing1 ,c4 ,r4 ,barrett1     
,baker  ,taylor ,co41  #a4jj4  ,chapter 
,,xii1 ,a ,study of ,prose ,fiction1    
,bliss ,perry1 ,houghton1 ,mifflin  ,co4
          99       99       99       99 
99     ,,english ,,literature4  ,the    
,arden ,shakespeare4      ,the ,greater 
,plays in their literary aspect4 ,one   
play in each     volume1 with           
,introduction1 ,notes1 ,essay on ,metre1
 and ,glossary4     ,based on the ,globe
 text4 ,from #add to #bbd pages4 ,cloth4
 ,price1 #be     cents a volume4  ,this 
edition presents the greater plays in   
their literary aspect1 and not merely as
 material for the study of philology or 

grammar4 ,verbal and textual criticism  
has been included only so far as may    
serve to help the student in his        
appreciation of the poetry4  ,questions 
of date and literary history have been  
fully dealt with in the ,introductions1 
but the larger space has been devoted to
 the interpretative rather than to the  
matter-of-fact order of scholarship4    
,aesthetic judgments are never final1   
but the editors have attempted to       
suggest points of view from which the   
analysis of dramatic motive and dramatic
 character may be profitably undertaken4
  ,in the ,notes likewise1 though it is 
hoped that unfamiliar expressions and   
allusions have been adequately          
explained1 it has been thought more     
important to consider the dramatic value
 of each scene1 and the part that it    
plays in relation to the whole4  ,each  
volume has a ,glossary1 an ,essay upon  
,metre1 and an ,index4 ,appendices are  
added upon points of interest that could
 not be treated in the ,introduction or 

the ,notes4 ,the text is based on that  
of the ,globe edition4 ,the following   
plays are ready3--                      
,,hamlet4--,edited by ,edmund ,k4       
,chambers1 ,b4,a4                       
,,macbeth4--,edited by ,edmund ,k4      
,chambers1 ,b4,a41 ,oxford4             
,,julius ,,caesar4--,edited by ,arthur  
,d4 ,innes1 ,m4,a41 ,oxford4      ,,the 
,,merchant ,,of ,,venice4--,edited by   
,h4 ,l4 ,withers1 ,b4,a41 ,oxford4      
,,twelfth ,,night4--,edited by ,arthur  
,d4 ,innes1 ,m4,a41 ,oxford4      ,,as  
,,you ,,like ,,it4--,edited by ,j4 ,c4  
,smith1 ,m4,a41 ,edinburgh4      ,a     
,,midsummer ,,night',s ,,dream4--,edited
 by ,edmund ,k4 ,chambers1 ,b4,a4       
,,cymbeline4--,edited by ,a4 ,j4 ,wyatt1
 ,m4,a41 ,cambridge4      ,,the         
,,tempest4--,edited by ,f4 ,s4 ,boas1   
,m4,a41 ,oxford4      ,,king            
,,john4--,edited by ,g4 ,c4 ,moore      
,smith1 ,m4,a41 ,cambridge4             
,,richard ,,ii4--,edited by ,c4 ,h4     
,herford1 ,l4,h4,d41 ,cambridge4        

,,richard ,,iii4--,edited by ,george    
,macdonald1 ,m4,a41 ,oxford4            
,,henry ,v4--,edited by ,g4 ,c4 ,moore  
,smith1 ,m4,a41 ,cambridge4      ,,henry
 ,,viii4--,edited by ,d4 ,nichol ,smith1
 ,m4,a41 ,edinburgh4                    
,,coriolanus4--,edited by ,edmund ,k4   
,chambers1 ,b4,a41 ,oxford4      ,,much 
,,ado ,,about ,,nothing4--,edited by ,j4
 ,c4 ,smith1 ,m4,a41 ,oxford4           
,,king ,,lear4--,edited by ,d4 ,nichol  
,smith1 ,m4,a41 ,edinburgh4             
,introduction to ,shakespeare4      ,by 
,,hiram ,,corson1 ,,ll4,d41 ,professor  
of ,rhetoric and ,english               
,literature in ,cornell ,university4    
,cloth4 #djj pages4 ,introduction       
price1 #a4jj4  ,this work indicates some
 lines of ,shakespearean thought which  
serve to introduce to the study of the  
plays as plays4 ,the introductory       
chapter is followed by chapters on3 ,the
 ,shakespeare-,bacon controversy1--,the 
,authenticity of the ,first             
,folio1--,the ,chronology of the        

,plays1--,shakespeare's ,verse1--,the   
,latin and ,anglo-,saxon ,elements of   
,shakespeare's ,english4 ,the larger    
portion of the book is devoted to       
commentaries and critical chapters upon 
,romeo and ,juliet1 ,king ,john1 ,much  
,ado about ,nothing1 ,hamlet1 ,macbeth1 
and ,anthony and ,cleopatra4 ,these aim 
to present the points of view demanded  
for a proper appreciation of            
,shakespeare's general attitude toward  
things1 and his resultant dramatic art1 
rather than the textual study of the    
plays4     ,introduction to ,browning4  
,by ,,hiram ,,corson1 ,,ll4,d41         
,professor of ,rhetoric and ,english    
,literature in ,cornell ,university4    
,cloth4 #cdh pages4 ,introduction       
price1 #a4jj4  ,this volume affords aid 
and guidance to the study of ,robert    
,browning's poetry1 which1 being the    
most complexly subjective of all        
,english poetry1 is1 for that reason    
alone1 the most difficult4 ,the         
exposition presented in the             

,introduction1 of the constitution and  
skillful management of the dramatic     
monologue and the ,arguments given to   
the several poems included in this      
volume1 will1 it is hoped1 reduce1 if   
not altogether remove1 the difficulties 
of this kind4 ,in the same section of   
the ,introduction certain peculiarities 
of the poet's diction are presented and 
illustrated4  ,the following is the     
,table of ,contents3--      ,i4 ,the    
,spiritual ,ebb and ,flow exhibited in  
,english ,poetry from     ,chaucer to   
,tennyson and ,browning4 ,,ii4 ,the     
,idea of ,personality     and of ,art1  
as an intermediate agency of            
,personality1 as     embodied in        
,browning's ,poetry4 7,read before the  
,browning ,society     of ,london in    
#ahhb47 ,,iii4 ,browning's ,obscurity4  
,,iv4 ,browning's     ,verse4 ,v4       
,arguments of the ,poems4 ,,vi4 ,poems4 
7,under this head     are thirty-three  
representative poems1 the ,arguments of 
which     are given in the preceding    

section47     ,a ,source ,book of ,greek
 ,history      ,by ,,frederick ,,morrow 
,,fling1 ,professor of ,ancient         
,history1     ,university of ,nebraska4 
,cloth4 xiv  #cgj pages4 ,illustrated4  
,introduction price1 #a4jj4  ,this book 
serves several purposes4 ,it 7#a7       
supplies illustrative material1 drawn   
from the best ,greek sources1 that may  
be used to supplement the school        
narrative2 7#b7 by means of searching   
questions1 it furnishes opportunity for 
more intensive study of certain periods2
 7#c7 by supplying data upon the writer 
of source1 and at times1 more than one  
source upon the same topic1 it makes    
possible the study of simple problems in
 the value of evidence2 7#d7 extracts   
are of sufficient length so that the    
pupil may be given some idea of ,greek  
literature1 as far as that is possible  
through the use of translations2 7#e7   
the illustrations not only supplement   
the written sources on the life of the  
,greeks1 but have been selected with a  

view to impressing upon the minds of    
students the great value of the artistic
 work of the ,greeks4     ,a ,source    
,book of ,roman ,history      ,by ,,dana
 ,c4 ,,munro1 ,university of ,wisconsin4
 ,cloth4 ,illustrated1     x  #beh      
pages4 ,introduction price1 #a4jj4  ,the
 series of extracts from original       
sources contained in this book cover the
 following topics3 ,sources and         
credibility of early ,roman history2    
religion2 the army2 monarchical         
institutions2 the constitution of the   
republic2 early laws and history2 the   
conquest of the ,mediterranean2 the     
,punic wars2 results of foreign wars2   
misrule of the optimates2 the last      
century of the republic2 the early      
empire2 ,christianity and ,stoicism2    
,roman life and society--slavery1       
education1 manners1 customs1 amusements2
 provinces and provincial               
administration1 etc4 ,references to     
supplementary sources are prefixed to   
each chapter4     ,a ,day in ,ancient   

,rome      ,a revision of ,lohr's ,aus  
dem alten ,rom1 by ,,edgar ,s4          
,,shumway1     recently ,professor of   
,latin in ,rutgers ,college4 ,cloth4 #if
 pages4     ,fifty-nine illustrations   
7seventeen full page74 ,retail price1   
#ge     cents4 ,paper1 #cj cents4  ,this
 attractive little book gives a picture 
of the famous old city as compared with 
the new4 ,availing himself of the latest
 excavations and of recent photographs1 
the author pictures graphically persons 
and places of classic fame as though    
vividly present4     ,studies in        
,general ,history      7#ajjj ,b4,c4 to 
#ahhj ,a4,d47 ,by ,,mary ,d4 ,,sheldon1 
formerly ,professor     of ,history in  
,wellesley ,college1 and ,assistant     
,professor in     ,leland ,stanford ,jr4
 ,university4 ,half leather1 xvi  #eef  
pages4     ,introduction price1 #a4fj4  
,this book gives a collection of        
historic material1 which may be dealt   
with first-hand1 as the pupil deals with
 the actual substance in chemistry1 and 

with the living plant in botany4 ,work  
of this kind stimulates the student's   
historic sense and judgment4 ,it is     
especially adapted to help students and 
teachers who do not have access to large
 libraries2 it contains within itself   
all that is absolutely necessary for the
 work required4 ,the material given     
consists of maps1 pictures1 lists of    
important events1 men1 works1 and deeds1
 tables of political organizations1 and 
extracts from original sources1         
including constitutions1 creeds1 laws1  
chronicles1 and poems4 ,it is           
accompanied by questions in the nature  
of problems1 the answers to which must  
be worked out by the pupil himself from 
the given data4 ,it is a book to be     
studied1 not read4     ,greek and ,roman
 ,history      ,or1 ,studies in ,general
 ,history1 from #ajjj ,b4,c4 to #dgf    
,a4,d4 ,by     ,,mary ,,sheldon         
,,barnes1 formerly ,professor of        
,history in ,wellesley     ,college1 and
 in ,leland ,stanford ,jr4 ,university4 

,cloth1 xiii      #bee pages4           
,introduction price1 #a4jj4  ,this book 
contains the portion of ,sheldon's      
,studies in ,general ,history which     
relates to ,greece and ,rome1 including 
a small amount of prefatory ancient     
history4 ,this portion meets the needs  
of students preparing for college1 of   
schools in which ancient history takes  
the place of general history1 and of    
students who have used an ordinary      
manual and wish to make a spirited and  
helpful review4     ,teacher's ,manual  
to ,general ,history      ,by ,,mary    
,,sheldon ,,barnes4 ,cloth4 #agb pages4 
,retail price1 #he     cents4  ,the     
student's edition of the ,studies in    
,general ,history contains material and 
problems for independent study4 ,the    
,teacher's ,manual contains the answers 
to these problems1 embodied in          
tabulations1 and a running commentary of
 text1 which will furnish suggestions   
for discussions and summaries4     ,aids
 to the ,teaching of ,general ,history  

,a pamphlet of #cj pages1 by ,,mary     
,,sheldon ,,barnes4 ,retail price1 #aj  
cents4 ,also bound with the ,teacher's  
,manual4     ,english ,etymology4       
,a select glossary1 serving as an       
introduction to the history of     the  
,english ,language4 ,by ,,friedrich     
,,kluge1 ,professor at the              
,university of ,freiburg1 ,germany1 and 
author of ,etymologisches               
,worterbuch der deutschen ,sprache1 and 
,,frederick ,,lutz1 ,professor     at   
,albion ,college1 ,mich4 ,cloth4 #bdb   
pages4 ,introduction price1     #fj     
cents4  ,the purpose of this work is to 
serve as an introduction to the study of
 the historical development of the      
,english language4 ,the scope of the    
book is sufficient to give the student  
an insight into the main linguistic     
phenomena4 ,while the method of         
discussion is concise1 care has been    
taken to include all words the history  
of which bears on the development of the
 language at large4 ,the authors have1  

in the first place1 traced back to the  
older periods loanwords of              
,scandinavian1 ,french and ,latin       
origin1 and such genuine ,english words 
as may afford matter for investigation4 
,in this way there has been provided a  
basis for every historical grammar of   
,english4     ,a ,history of ,english   
,critical ,terms4      ,by ,j4 ,w4      
,,bray4 ,cloth4 #ceb pages4 ,retail     
price1 #a4jj4  ,in literary criticism1  
and in the discussion of art1 there are 
more than a hundred important terms     
whose history determines their present  
use and meaning4 ,there are also several
 hundred others terms occasionally used 
in explaining the larger terms or their 
synonyms4 ,all these terms are here     
arranged in alphabetical order4 ,the    
history of the more important terms is  
presented in full4 ,under each is given3
 7#a7 ,its grouping 7by synonyms74 7#b7 
,the historical limits of its use4 7#c7 
,a brief statement of its meanings4 7#d7
 ,an explanation of its changes of      

meaning4 7#e7 ,representative           
quotations4  ,about one hundred and     
fifty critics are represented in the    
quotations1 the work thus covering the  
entire field of ,english criticism4     
,the vocabulary of criticism is preceded
 by an ,introduction1 which gives a     
philosophical discussion of critical    
terms under three heads3 7#a7 ,what is a
 ,critical term8 7#b7 ,general          
,historical ,movements and ,tendencies  
in ,critical ,terms4 7#c7 ,method of    
,dealing with the ,separate ,critical   
,terms4      ,the ,outlook1 ,new ,york3 
,the book is not simply a collection of 
information2 it is both a contribution  
to the history of     criticism and a   
text-book for its study4     ,english   
,literature      ,the ,arden            
,shakespeare4 ,the plays in their       
literary aspect1         each with      
introduction1 interpretative notes1     
glossary1 and         essay on metre4   
#be cts4      ,bronson's ,history of    
,american ,literature4 #chd pages4 #hj  

cents4      ,burke's ,american          
,orations4 7,a4 ,j4 ,,george47 ,five    
complete         selections4 #ej cts4   
,burns's ,select ,poems4 7,a4 ,j4       
,,george47 #aah poems                   
chronologically arranged1 with          
introduction1 notes1 and                
glossary4 ,illustrated4 #ge cts4        
,coleridge's ,principles of ,criticism4 
7,a4 ,j4 ,,george47 ,from the           
,biographia ,literaria4 ,with portrait4 
#fj cts4      ,cook's ,judith4 ,with    
introduction1 translation1 and glossary4
         ,cloth4 #agj pages4 #a4jj4     
,cook's ,the ,bible and ,english ,prose 
,style4 #dj cts4      ,corson's         
,introduction to ,browning4 ,a guide to 
the study of         ,browning's poetry4
 ,also has #cc poems with notes4 ,with  
portrait of ,browning4 #a4jj4           
,corson's ,introduction to the ,study of
 ,shakespeare4 ,a critical         study
 of ,shakespeare's art1 with comments on
 nine plays4         #a4jj4             
,crawshaw's ,the ,making ,of ,english   

,literature4 ,an interpretative         
and historical guide for students4 ,map 
and illustrations4         #dhd pages4  
#a4be4      ,davidson's ,prolegomena to 
,tennyson's ,in ,memoriam4 ,a critical  
analysis1 with an index of the poem4 #ej
 cts4      ,de ,quincey's ,confessions  
of an ,opium ,eater4 7,g4 ,a4           
,,wauchope47         #ej cts4           
,hall's ,beowulf4 ,a metrical           
translation4 #ge cts4 ,student's        
edition1 #cj cts4      ,hawthorne and   
,lemmon's ,american ,literature4        
,contains sketches1                     
characterizations1 and selections4      
,illustrated with         portraits4    
#a4ab4      ,hodgkin's ,nineteenth      
,century ,authors4 ,gives aids for      
library         study of #bf authors4   
,price1 #e cts4 each1 or #c4jj per      
hundred4 ,complete in cloth4 #fj cts4   
,howes's ,primer of ,english            
,literature4 ,illustrated4 #ej cents4   
,meiklejohn's ,history of ,english      
,language and ,literature4              

,revised4 #fj cts4      ,milton's       
,select ,poems4 7,a4 ,p4 ,,walker47     
,illustrated4 #dhh pages4         #ej   
cts4      ,moulton's ,four ,years of    
,novel-,reading4 ,a reader's guide4     
#ej cts4      ,moulton's ,literary      
,study of the ,bible4 ,an account of the
         leading forms of literature    
represented1 without reference          
to theological matters4 #b4jj4          
,plumptre's ,translation of ,aeschylus4 
,with biography and         appendix4   
#a4jj4      ,plumptre's ,translation of 
,dante4 ,five vols4 ,illustrated4       
,student's edition1 #ej cts4 per vol4   
,library edition1 #d4jj         per set4
      ,plumptre's ,translation of       
,sophocles4 ,with biography and         
appendix4 #a4jj4      ,shelley's        
,prometheus ,unbound4 7,,vida ,d4       
,,scudder47 #fj cts4      ,simonds's    
,introduction to the ,study of ,english 
,fiction4 ,with         illustrative    
selections4 #hj cts4 ,briefer edition1  
without         illustrative selections4

 ,boards4 #cj cts4      ,simonds's ,sir 
,thomas ,wyatt and ,his ,poems4 ,with   
critical         analysis4 #ej cts4     
,webster's ,speeches4 7,a4 ,j4          
,,george47 ,nine select speeches with   
notes4 #ge cts4      ,whitcomb's ,the   
,study of a ,novel4 #bea pages4 #a4be4  
,wordsworth's ,prefaces and ,essays on  
,poetry4 7,a4 ,j4 ,,george47 #ej        
cts4      ,wordsworth's ,prelude4 7,a4  
,j4 ,,george47 ,annotated4 #ge cts4     
,selections from ,wordsworth4 7,a4 ,j4  
,,george47 #afh poems chosen            
with a view to illustrate the growth of 
the poet's mind and         art4 #ge    
cts4   ,see also our list of books in   
,higher ,english and ,english ,classics4
  ,d4 ,c4 ,,heath  ,,co41 ,publishers1  
,boston1 ,new ,york1 ,chicago