The Great English Short-Story Writers Part 1

The Great English Short-Story Writers.

The Evolution of the Short-Story

I

The short-story commenced its career as a verbal utterance, or, as Robert Louis Stevenson puts it, with "the first men who told their stories round the savage camp-fire."

It bears the mark of its origin, for even to-day it is true that the more it creates the illusion of the speaking-voice, causing the reader to listen and to see, so that he forgets the printed page, the better does it accomplish its literary purpose. It is probably an instinctive appreciation of this fact which has led so many latter-day writers to narrate their short-stories in dialect. In a story which is communicated by the living voice our attention is held primarily not by the excellent deposition of adjectives and poise of style, but by the striding progress of the plot; it is the plot, and action in the plot, alone which we remember when the combination of words which conveyed and made the story real to us has been lost to mind. "Crusoe recoiling from the foot-print, Achilles shouting over against the Trojans, Ulysses bending the great bow, Christian running with his fingers in his ears; these are each culminating moments, and each has been printed on the mind's eye for ever."[1]

[Footnote 1: A Gossip on Romance, from _Memories and Portraits_, by R.L. Stevenson.]

The secondary importance of the detailed language in which an incident is narrated, when compared with the total impression made by the naked action contained in the incident, is seen in the case of ballad poetry, where a man may retain a vivid mental picture of the localities, atmosphere, and dramatic moments created by Coleridge's _Ancient Mariner_, or Rossetti's _White Ship_, and yet be quite incapable of repeating two consecutive lines of the verse. In literature of narration, whether prose or verse, the dramatic worth of the action related must be the first consideration.

In earlier days, when much of the current fiction was not written down, but travelled from mouth to mouth, as it does in the Orient to-day, this fact must have been realized--that, in the short-story, plot is superior to style. Among modern writers, however, there has been a growing tendency to make up for scantiness of plot by high literary workmanship; the result has been in reality not a short-story, but a descriptive sketch or vignette, dealing chiefly with moods and landscapes. So much has this been the case that the writer of a recent _Practical Treatise on the Art of the Short-Story_ has found it necessary to make the bald statement that "the first requisite of a short-story is that the writer have a story to tell."[2]

[Footnote 2: _Short-Story Writing_, by Charles Raymond Barrett.]

However lacking the stories which have come down to us from ancient times may be in technique, they invariably narrate action--they have something to tell. If they had not done so, they would not have been interesting to the men who first heard them, and, had they not been interesting, they would not have survived. Their paramount worth in this respect of _action_ is proved by the constant borrowings which modern writers have made from them. Take one case in ill.u.s.tration. In the twenty-eighth chapter of Aristotle's _Secretum Secretorum_ appears a story in which "a queen of India is said to have treacherously sent to Alexander, among other costly presents, the pretended testimonies of friendship, a girl of exquisite beauty, who, having been fed with serpents from her infancy, partook of their nature." It comes to light again, in an altered and expanded form, in the _Gesta Romanorum_, as the eleventh tale, being ent.i.tled _Of the Poison of Sin_.

"Alexander was a prince of great power, and a disciple of Aristotle, who instructed him in every branch of learning. The Queen of the North, having heard of his proficiency, nourished her daughter from the cradle upon a certain kind of deadly poison; and when she grew up, she was considered so beautiful, that the sight of her alone affected many to madness. The queen sent her to Alexander to espouse. He had no sooner beheld her than he became violently enamoured, and with much eagerness desired to possess her; but Aristotle, observing his weakness, said: 'Do not touch her, for if you do, you will certainly perish. She has been nurtured upon the most deleterious food, which I will prove to you immediately. Here is a malefactor who is already condemned to death. He shall be united to her, and you shall soon see the truth of what I advance.'

"Accordingly the culprit was brought without delay to the girl; and scarcely had he touched her lips, before his whole frame was impregnated with poison, and he expired. Alexander, glad at his escape from such imminent destruction, bestowed all thanks on his instructor, and returned the girl to her mother."

After which follows the monkish application of the moral, as long as the entire story: Alexander being made to stand for a good Christian; the Queen of the North for "a superfluity of the things of life, which sometimes destroys the spirit, and generally the body"; the Poison Maid for luxury and gluttony, "which feed men with delicacies that are poison to the soul"; Aristotle for conscience and reason, which reprove and oppose any union which would undo the soul; and the malefactor for the evil man, disobedient unto his G.o.d.

There have been at least three writers of English fiction who, borrowing this germ-plot from the _Gesta Romanorum_, have handled it with distinction and originality. Nathaniel Hawthorne, having changed its period and given it an Italian setting, wove about it one of the finest and most imaginative of his short-stories, _Rappaccini's Daughter_. Oliver Wendell Holmes, with a freshness and vigor all his own, developed out of it his fictional biography of _Elsie Venner_.

And so recent a writer as Mr. Richard Garnett, attracted by the subtle and magic possibilities of the conception, has given us yet another rendering, restoring to the story its cla.s.sic setting, in _The Poison Maid_.[3] Thus, within the s.p.a.ce of a hundred years, three master-craftsmen have found their inspiration in the slender anecdote which Aristotle, in the opulence of his genius, was content to hurry into a few sentences and bury beneath the ma.s.s of his material.

[Footnote 3: Vide _The Twilight of the G.o.ds and Other Tales_, published by John Lane, 1903.]

II

Probably the first stories of mankind were _true stories_, but the true story is rarely good art. It is perhaps for this reason that few true stories of early times have come down to us. Mr. Cable, in his _Strange True Stories of Louisiana_, explains the difference between the fabricated tale and the incident as it occurs in life. "The relations and experiences of real men and women," he writes, "rarely fall in such symmetrical order as to make an artistic whole. Until they have had such treatment as we give stone in the quarry or gems in the rough, they seldom group themselves with that harmony of values and brilliant unity of interest that result when art comes in--not so much to transcend nature as to make nature transcend herself." In other words, it is not until the true story has been converted into fiction by the suppression of whatever is discursive or ungainly, and the addition of a stroke of fantasy, that it becomes integral, balanced in all its parts, and worthy of literary remembrance.

In the fragments of fiction which have come down to us from the days when books were not, odd chapters from the Fieldings and Smollets of the age of Noah, remnants of the verbal libraries which men repeated one to the other, squatting round "the savage camp-fire," when the hunt was over and night had gathered, the stroke of fantasy predominates and tends to comprise the whole. Men spun their fictions from the materials with which their minds were stored, much as we do to-day, and the result was a cycle of beast-fables--an Odyssey of the brute creation. Of these the tales of Aesop are the best examples. The beast-fable has never quite gone out of fashion, and never will so long as men retain their world-wonder, and childishness of mind.

A large part of Gulliver's adventures belong to this cla.s.s of literature. It was only the other day that Mr. Kipling gave us his _Just-so Stories_, and his _Jungle-Book_, each of which found an immediate and secure place in the popular memory.

Mr. Chandler Harris, in his introduction to _Uncle Remus_, warns us that however humorous his book may appear, "its intention is perfectly serious." He goes on to insist on its historic value, as a revelation of primitive modes of thought. At the outset, when he wrote his stories serially for publication in _The Atlanta Const.i.tution_, he believed that he was narrating plantation legends peculiar to the South. He was quickly undeceived. Prof. J.W. Powell, who was engaged in an investigation of the mythology of the North American Indians, informed him that some of Uncle Remus's stories appear "in a number of different languages, and in various modified forms among the Indians."

Mr. Herbert H. Smith had "met with some of these stories among tribes of South American Indians, and one in particular he had traced to India, and as far east as Siam." "When did the negro or North American Indian ever come in contact with the tribes of South America?"

Mr. Harris asks. And he quotes Mr. Smith's reply in answer to the question: "I am not prepared to form a theory about these stories.

There can be no doubt that some of them, found among the negroes and the Indians, had a common origin. The most natural solution would be to suppose that they originated in Africa, and were carried to South America by the negro slaves. They are certainly found among the Red Negroes; but, unfortunately for the African theory, it is equally certain that they are told by savage Indians of the Amazon's Valley, away up on the Tapajos, Red Negro, and Tapura. These Indians hardly ever see a negro.... It is interesting to find a story from Upper Egypt (that of the fox who pretended to be dead) identical with an Amazonian story, and strongly resembling one found by you among the negroes.... One thing is certain. The animal stories told by the negroes in our Southern States and in Brazil were brought by them from Africa. Whether they originated there, or with the Arabs, or Egyptians, or with yet more ancient nations, must still be an open question. Whether the Indians got them from the negroes or from some earlier source is equally uncertain." Whatever be the final solution to this problem, enough has been said to show that the beast-fable is, in all probability, the most primitive form of short-story which we possess.

III

For our purpose, that of tracing the evolution of the English short-story, its history commences with the _Gesta Romanorum_. At the authorship of this collection of mediaeval tales, many guesses have been made. Nothing is known with certainty; it seems probable, however, judging from the idioms which occur, that it took its present form in England, about the end of the thirteenth or the beginning of the fourteenth century, and thence pa.s.sed to the Continent. The work is written in Latin, and was evidently compiled by a man in holy orders, for its guiding purpose is to edify. In this we can trace the influence of Aesop's beast-fables, which were moral lessons drawn from the animal creation for the instruction of mankind. Every chapter of the _Gesta Romanorum_ consists of a moral tale; so much so that in many cases the application of the moral is as long as the tale itself.

The t.i.tle of the collection, _The Deeds of the Romans_, is scarcely justified; in the main it is a garnering of all the deathless plots and dramatic motives which we find scattered up and down the ages, in the legend and folklore of whatsoever nation. The themes of many of its stories were being told, their characters pa.s.sing under other names, when Romulus and Remus were suckled by their wolf-mother, before there was a Roman nation or a city named Rome.

In the Bible we have many admirable specimens of the short-story.

Jotham's parable of the trees of the wood choosing a king is as good an instance of the nature-fable, touched with fine irony and humor, as could be found. The Hebrew prophet himself was often a story-teller.

Thus, when Nathan would bring home the nature of his guilt to David, he does it by a story of the most dramatic character, which loses nothing, and indeed gains all its terrific impact, by being strongly impregnated with moral pa.s.sion. Many such instances will occur to the student of the Bible. In the absence of a written or printed literature the story-teller had a distinct vocation, as he still has among the peoples of the East. Every visitor to Tangier has seen in the market-place the professional story-teller, surrounded from morn till night with his groups of attentive listeners, whose kindling eyes, whose faces moved by every emotion of wonder, anger, tenderness, and sympathy, whose murmured applause and absorbed silence, are the witnesses and the reward of his art. Through such a scene we recover the atmosphere of the Arabian Nights, and indeed look back into almost limitless antiquity. Possibly, could we follow the story which is thus related, we might discover that this also drew its elemental incidents from sources as old as the times of Jotham and Nathan.

The most that can be said for the Latin origin of the _Gesta Romanorum_ is that the nucleus is made up of extracts, frequently of glaring inaccuracy, from Roman writers and historians. The Cologne edition comprises one hundred and eighty-one chapters, each consisting of a tale or anecdote followed by a moral application, commencing formally with the words, "My beloved, the prince is intended to represent any good Christian," or, "My beloved, the emperor is Christ; the soldier is any sinner." They are not so much short-stories as ill.u.s.trated homilies. In the literary armory of the lazy parish priest of the fourteenth century, the _Gesta Romanorum_ must have held the place which volumes of sermon-outlines occupy upon the book-shelves of certain of his brethren to-day.

"The method of instructing by fables is a practice of remote antiquity; and has always been attended with very considerable benefit. Its great popularity encouraged the monks to adopt this medium, not only for the sake of ill.u.s.trating their discourses, but of making a more durable impression upon the minds of their illiterate auditors. An abstract argument, or logical deduction (had they been capable of supplying it), would operate but faintly upon intellects rendered even more obtuse by the rude nature of their customary employments; while, on the other hand, an apposite story would arouse attention and stimulate that blind and unenquiring devotion which is so remarkably characteristic of the Middle Ages."[4]

[Footnote 4: Introduction to _Gesta Romanorum_, translated by the Rev.

Charles Swan, revised and corrected by Wynnard Hooper, B.A.]

IV

The influence of the _Gesta Romanorum_ is most conspicuously to be traced in the work of Gower, Chaucer, and Lydgate; but it has served as a source of inspiration to the flagging ingenuity of each succeeding generation. It would be tedious to enter on an enumeration of the various indebtednesses of English literature to these early tales. A few instances will serve as ill.u.s.tration.

It seems a far cry from the _The Ingoldsby Legends_ to _The Deeds of the Romans_, nevertheless _The Leech of Folk-stone_ was directly taken from the hundred and second tale, _Of the Transgressions and Wounds of the Soul_. Shakespeare himself was a frequent borrower, and planned his entire play of _Pericles, Prince of Tyre_, upon the hundred and fifty-third tale, _Of Temporal Tribulation_. In some cases the language is almost identical, as for instance in the fifth tale, where the king warns his son, saying, "Son, I tell thee that thou canst not confide in her, and consequently ought not to espouse her. _She deceived her own father when she liberated thee from prison_; for this did her father lose the price of thy ransom." Compare with this:

"Look to her, Moor; have a quick eye to see; _She has deceived her father, and may thee_."[5]

[Footnote 5: _Oth.e.l.lo_, act I, scene III.]

But the ethical treatment of the short-story, as exemplified in these monkish fables, handicapped its progress and circ.u.mscribed its field of endeavor. Morality necessitated the twisting of incidents, so that they might harmonize with the sermonic summing-up that was in view.

Life is not always moral; it is more often perplexing, boisterous, unjust, and flippant. The wicked dwell in prosperity. "There are no pangs in their death; their strength is firm. They are not in trouble as other men; neither are they plagued as other men. They have more than heart could wish." But the art of the teller of tales "is occupied, and bound to be occupied not so much in making stories true as in making them typical."[6]

[Footnote 6: From a Humble Remonstrance, in _Memories and Portraits_, by R.L. Stevenson.]

The ethical method of handling fiction falls between two stools; it not only fails in portraying that which is true for the individual, but it incurs the graver error of ceasing to be true to the race, i.e., typical.

It would be interesting, had we s.p.a.ce, to follow Shakespeare in his borrowings, noticing what he adopts and incorporates in his work as artistically true, and what he rejects. Like a water-color landscape-painter, he pauses above the box of crude materials which others have made, takes a dab here and a dab there with his brush, rarely takes all of one color, blends them, eyes the result judicially, and flashes in the combination with swiftness and certainty of touch.

For instance, from the lengthy story which appears as the hundred and first tale in Mr. Douce's edition of the _Gesta_, he selects but one scene of action, yet it is the making of _Macbeth_--one would almost suppose that this was the germ-thought which kindled his furious fancy, preceding his discovery of the Macbeth tradition as related in Holinshed's _Chronicle_.[7]

[Footnote 7: _The Chronicle of England and Scotland_, first published in 1577.]

The Emperor Manelay has set forth to the Holy Land, leaving his empress and kingdom in his brother's care. No sooner has he gone than the regent commences to make love to his brother's wife. She rejects him scornfully. Angered by her indignation, he leads her into a forest and hangs her by the hair upon a tree, leaving her there to starve.

As good-fortune will have it, on the third day a n.o.ble earl comes by, and, finding her in that condition, releases her, takes her home with him, and makes her governess to his only daughter. A feeling of shame causes her to conceal her n.o.ble rank, and so it comes about that the earl's steward aspires to her affection. Her steadfast refusal of all his advances turns his love to hatred, so that he plans to bring about her downfall. Then comes the pa.s.sage which Shakespeare seized upon as vital: "It befell upon a night that the earl's chamber door was forgotten and left unshut, which the steward had anon perceived; and when they were all asleep he went and espied the light of the lamp where the empress and the young maid lay together, and with that he drew out his knife and cut the throat of the earl's daughter and put the knife into the empress's hand, she being asleep, and nothing knowing thereof, to the intent that when the earl awakened he should think that she had cut his daughter's throat, and so would she be put to a shameful death for his mischievous deed."

The laws of immediateness and concentration, which govern the short-story, are common also to the drama; by reason of their brevity both demand a directness of approach which leads up, without break of sequence or any waste of words, through a dependent series of actions to a climax which is final. It will usually be found in studying the borrowings which the masters have made from such sources as the _Gesta Romanorum_ that the portions which they have discriminated as worth taking from any one tale have been the only artistically essential elements which the narrative contains; the remainder, which they have rejected, is either untrue to art or unnecessary to the plot's development.

These tales, as told by their monkish compiler, lack "that harmony of values and brilliant unity of interest that results when art comes in"--they are splendid jewels badly cut.

V