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Influence on structure in the short story has been great, it is

difficult rather than obvious to trace particular instances. It is

felt in the advance of the general level of short story art. There is

nothing personal about structure--there is everything personal about

style. Poe's style is both too much his own and too superlatively good

to be successfully imitated--whom have we had who, even if he were a

master of structural effects, could be a second Poe? Looking at the

matter in another way, Poe's style is not his own at all. There is

nothing "personal" about it in the petty sense of that term. Rather we

feel that, in the case of this author, universality has been attained.

It was Poe's good fortune to be himself in style, as often in content,

on a plane of universal appeal. But in some general characteristics of

his style his work can be, not perhaps imitated, but emulated. Greater

vividness, deft impressionism, brevity that strikes instantly to a

telling effect--all these an author may have without imitating any

one's style but rather imitating excellence. Poe's "imitators" who

have amounted to anything have not tried to imitate him but to vie

with him. They are striving after perfectionism. Of course the sort of

good style in which Poe indulged is not the kind of style--or the

varieties of style--suited for all purposes, but for the purposes to

which it is adapted it may well be called supreme.

Then as a poet his work is almost or quite as excellent in a somewhat

more restricted range. In verse he is probably the best artist in

American letters. Here his sole pursuit was beauty, both of form and

thought; he is vivid and apt, intensely lyrical but without much range

of thought. He has deep intuitions but no comprehensive grasp of life.

His criticism is, on the whole, the least important part of his work.

He had a few good and brilliant ideas which came at just the right

time to make a stir in the world, and these his logical mind and

telling style enabled him to present to the best advantage. As a

critic he is neither broad-minded, learned, nor comprehensive. Nor is

he, except in the few ideas referred to, deep. He is, however,

limitedly original--perhaps intensely original within his narrow

scope. But the excellences and limitations of Poe in any one part of

his work were his limitations and excellences in all.

As Poe's best short stories may be mentioned: _Metzengerstein_ (Jan.

14, 1832, Philadelphia _Saturday Courier_), _Ms. Found in a Bottle_

(October 19, 1833, _Baltimore Saturday Visiter_), _The Assignation_

(January, 1834, _Godey's Lady's Book_), _Berenice_ (March, 1835,

_Southern Literary Messenger_), _Morella_ (April, 1835, _Southern

Literary Messenger_), _The Unparalleled Adventure of One Hans Pfaall_

(June, 1835, _Southern Literary Messenger_), _King Pest: a Tale

Containing an Allegory_ (September, 1835, _Southern Literary

Messenger_), _Shadow: a Parable_ (September, 1835, _Southern Literary

Messenger_), _Ligeia_ (September, 1838, _American Museum_), _The Fall

of the House of Usher_ (September, 1839, _Burton's Gentleman's

Magazine_), _William Wilson_ (1839: _Gift for_ 1840), _The

Conversation of Eiros and Charmion_ (December, 1839, _Burton's

Gentleman's Magazine_), _The Murders in the Rue Morgue_ (April, 1841,

_Graham's Magazine_), _A Descent into the Maelstrom_ (May, 1841,

_Graham's Magazine_), _Eleonora_ (1841: _Gift_ for 1842), _The Masque

of the Red Death_ (May, 1842, _Graham's Magazine_), _The Pit and the

Pendulum_ (1842: _Gift for 1843_), _The Tell-Tale Heart_ (January,

1843, _Pioneer_), _The Gold-Bug_ (June 21 and 28, 1843, _Dollar

Newspaper_), _The Black Cat_ (August 19, 1843, _United States Saturday

Post_), _The Oblong Box_ (September, 1844, _Godey's Lady's Book_),

_The Angel of the Odd_ (October, 1844, _Columbian Magazine_), _"Thou

Art the Man"_ (November, 1844, _Godey's Lady's Book_), _The Purloined

Letter_ (1844: _Gift_ for 1845), _The Imp of the Perverse_ (July,

1845, _Graham's Magazine_), _The System of Dr. Tarr and Prof. Fether_

(November, 1845, _Graham's Magazine_), _The Facts in the Case of M.

Valdemar_ (December, 1845, _American Whig Review_), _The Cask of

Amontillado_ (November, 1846, _Godey's Lady's Book_), and _Lander's

Cottage_ (June 9, 1849, _Flag of Our Union_). Poe's chief collections

are: _Tales of the Grotesque and Arabesque_ (1840), _Tales_ (1845),

and _The Works of the Late Edgar Allan Poe_ (1850-56). These titles

have been dropped from recent editions of his works, however, and the

stories brought together under the title _Tales_, or under

subdivisions furnished by his editors, such as _Tales of

Ratiocination_, etc.

Caroline Matilda Stansbury Kirkland (1801-1864) wrote of the frontier

life of the Middle West in the mid-nineteenth century. Her principal

collection of short stories is _Western Clearings_ (1845), from which

_The Schoolmaster's Progress_, first published in _The Gift_ for 1845

(out in 1844), is taken. Other stories republished in that collection

are _The Ball at Thram's Huddle_ (April, 1840, _Knickerbocker

Magazine_), _Recollections of the Land-Fever_ (September, 1840,

_Knickerbocker Magazine_), and _The Bee-Tree_ (_The Gift_ for 1842;

out in 1841). Her description of the country schoolmaster, "a puppet

cut out of shingle and jerked by a string," and the local color in

general of this and other stories give her a leading place among the

writers of her period who combined fidelity in delineating frontier

life with sufficient fictional interest to make a pleasing whole of

permanent value.

George William Curtis (1824-1892) gained his chief fame as an

essayist, and probably became best known from the department which he

conducted, from 1853, as _The Editor's Easy Chair_ for _Harper's

Magazine_ for many years. His volume, _Prue and I_ (1856), contains

many fictional elements, and a story from it, _Titbottom's

Spectacles_, which first appeared in Putnam's Monthly for December,

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