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