portray character. Miss Jewett and Mrs. Freeman veraciously picture the faded-put womanhood in New England; Henry James and Björnson turn the x-rays of psychology and sociology on their characters; Stevenson follows with the precision of the tick of a watch the steps in Markheim's mental evolution. 

 The types of the short-story are as varied as life itself. Addison, Lamb, Irving, Warner, and many others have used the story in their sketches and essays with wonderful effect. The Legend of Sleepy Hollow is as impressive as any of Scott's tales. The allegory in The Great Stone Face loses little or nothing when compared with Bunyan's Pilgrim's Progress. No better type of detective story has been written than the two short-stories, The Murders in the Rue Morgue and The Purloined Letter. Every emotion is subject to the call of the short-story. Humor with its expansive free air is not so well adapted to the short-story as is pathos. There is a sadness in the stories of Dickens, Garland, Page, Mrs. Freeman, Miss Jewett, Maupassant, Poe, and many others that runs the whole gamut from pleasing tenderness in A Child's Dream of a Star to unutterable horror in The Fall of the House of Usher. 

 The short-story is stripped of all the incongruities that led Fielding, Scott, and Dickens far afield. All its parts harmonize in the simplest manner to give unity and "totality" of impression through strict unity of form. It is a concentrated piece of life snatched from the ordinary and uneventful round of living and steeped in fancy until it becomes the acme of literary art. 

 

COMPOSITION OF THE SHORT-STORY

 Any student who wishes to express himself correctly and pleasingly, and desires a keener sense for the appreciation of literary work must write. The way others have done the thing never appears in a forceful light until one sets himself at a task of like nature. Just so in the study of this text. To find and appreciate the better points of the short-story, students must write stories of their own, patterned in a small way on the technique of the masterpieces. 

 The process of short-story writing follows in a general way the following program. In the first place the class must have something interesting and suggestive to write about. Sometimes the class can suggest a subject; newspapers almost every day give incidents worthy of story treatment; happenings in the community often give the very best material for stories; and phases of the literature work may well be used in the 

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