a leisurely manner. He did not quite see what Hawthorne instinctively followed and Poe consciously defined and practiced, and he did not realize that terseness of statement and totality of impression were the chief qualities he needed to make him the father of a new literary form. Poe and Maupassant have reduced the form of the short-story to an exact science; Hawthorne and Harte have done successfully in the field of romanticism what the Germans, Tieck and Hoffman, did not do so well; Bjornson and Henry James have analyzed character psychologically in their short-stories; Kipling has used the short-story as a vehicle for the conveyance of specific knowledge; Stevenson has gathered most, if not all, of the literary possibilities adaptable to short-story use, and has incorporated them in his Markheim. 

 France with her literary newspapers and artistic tendencies, and the United States with magazines calling incessantly for good short-stories, and with every section of its conglomerate life clamoring to express itself, lead in the production and rank of short-stories. Maupassant and Stevenson and Hawthorne and Poe are the great names in the ranks of short-story writers. The list of present day writers is interminable, and high school students can best acquire a reasonable appreciation of the great work these writers are doing by reading regularly some of the better grade literary magazines. 

 For a comprehensive view of specimens representing the history and development of the short-story, students should have access to Brander Matthews' The Short Story, Jessup and Canby's The Book of the Short-Story, and Waite and Taylor's Modern Masterpieces of Short Prose Fiction. 

 NOTE: [1] American Short-Stories, by Charles Sears Baldwin, New York: Longmans, Green, & Company, 1904. 

 

QUALITIES OF THE SHORT-STORY

 It was not until well along in the nineteenth century that any one attempted to define the short-story. The three quotations given here are among the best things that have been spoken on this subject. 

 "The right novella is never a novel cropped back from the size of a tree to a bush, or the branch of a tree stuck into the ground and made to serve for a bush. It is another species, destined by the agencies at work in the realm of unconsciousness to be brought into being of its own kind, and not of another,"—W.D. Howells, North American Review, 173:429. 

 "A true short-story is something other 

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