6. Do you have a clear picture in your mind of Mrs. Winthrop? Of Mrs. Worthington? Why did not the author tell about their personal appearance?

7. Point out humorous touches in the next to the last paragraph.

8. Is this story true to life? Who is the Priscilla Winthrop of your town?

9. What impression do you get of the man behind this story? Do you think he knew the people of his town well? Did he like them even while he laughed at them? What else can you say about him?

10. Other books of short stories dealing with life in a small town are: _Pratt Portraits_, by Anna Fuller; _Old Chester Tales_, by Margaret Deland; _Stories of a Western Town_, by Octave Thanet; _In a Little Town_, by Rupert Hughes; _Folks Back Home_, by Eugene Wood; _Friendship Village_, by Zona Gale; _Bodbank_, by Richard W.

Child. Read one of these books, or a story from one, and compare it with this story.

11. In what ways does life in a small town differ from life in a large city?

THE GIFT OF THE MAGI

This story, taken from the volume called _The Four Million_, is a good example of O. Henry's method as a short-story writer. It is notable for its brevity. The average length of the modern short story is about five thousand words; O. Henry uses a little over one thousand words. This conciseness is gained in several ways. In his descriptions, he has the art of selecting significant detail. When Della looks out of the window, instead of describing fully the view that met her eyes, he says: "She looked out dully at a grey cat walking a grey fence in a grey backyard."

A paragraph could do no more. Again, the beginning of the story is quick, abrupt. There is no introduction. The style is often elliptical; in the first paragraph half the sentences are not sentences at all. But the main reason for the shortness of the story lies in the fact that the author has included only such incidents and details as are necessary to the unfolding of the plot. There is no superfluous matter.

Another characteristic of O. Henry is found in the unexpected turns of his plots. There is almost always a surprise in his stories, usually at the end. And yet this has been so artfully prepared for that we accept it as probable. Our pleasure in reading his stories is further heightened by the constant flashes of humor that light up his pages. And beyond this, he has the power to touch deeper emotions. When Della heard Jim's step on the stairs, "she turned white just for a moment. She had a habit of saying little silent prayers about the simplest things, and now she whispered, 'Please G.o.d, make him think I am still pretty.'" One reads that with a little catch in the throat.

In his plots, O. Henry is romantic; in his settings he is a realist.

Della and Jim are romantic lovers, they are not prudent nor calculating, but act upon impulse. In his descriptions, however, he is a realist. The eight-dollar-a-week flat, the frying pan on the back of the stove, the description of Della "flopping down on the couch for a cry," and afterwards "attending to her cheeks with the powder-rag,"--all these are in the manner of realism.

And finally, the tone of his stories is brave and cheerful. He finds the world a most interesting place, and its people, even its commonplace people, its rogues, its adventurers, are drawn with a broad sympathy that makes us more tolerant of the people we meet outside the books.

1. Compare the beginning of this story with the beginning of "Bitter-Sweet." What difference do you note?

2. Select a description of a person that shows the author's power of concise portraiture.

3. What is the turn of surprise in this story? What other stories in this book have a similar twist at the end?

4. What is the central thought of this story?

5. Other stories of O. Henry's that ought not to be missed are "An Unfinished Story" and "The Furnished Room" in _The Four Million_; "A Blackjack Bargainer" in _Whirligigs_; "Best Seller" and "The Rose of Dixie" in _Options_; "A Munic.i.p.al Report" in _Strictly Business_; "A Retrieved Reformation" in _Roads of Destiny_; and "Hearts and Crosses" in _Hearts of the West_.

THE GOLD BRICK

This story, first published in the _American Magazine_, was reprinted in a volume called _The Gold Brick_, published in 1910. The quotation "chip at crusts like Hindus" is from Robert Browning's poem "Youth and Art."

The reference to "Old Walt" at the end of the story is to Walt Whitman, one of the great poets of democracy.

1. To make a story interesting, there must be a conflict. In this the conflict is double: the outer conflict, between the two political factions, and the inner conflict, in the soul of the artist. Note how skilfully this inner struggle is introduced: at the moment when Kittrell is first rejoicing over his new position, he feels a pang at leaving the _Post_, and what it stood for. This feeling is deepened by his wife's tacit disapproval; it grows stronger as the campaign progresses, until the climax is reached in the scene where he resigns his position.

2. If you knew nothing about the author, what could you infer from this story about his political ideals? Did he believe in democracy?

Did he have faith in the good sense of the common people? Did he think it was worth while to make sacrifices for them? What is your evidence for this?

3. How far is this story true to life, as you know it? Do any newspapers in your city correspond to the _Post_? To the _Telegraph_? Can you recall a campaign in which the contest was between two such groups as are described here?

4. Does Whitlock have the art of making his characters real? Is this true of the minor characters? The girl in the flower shop, for instance, who appears but for a moment,--is she individualized?

How?

5. Is there a lesson in this story? State it in your own words.

6. What experiences in Whitlock's life gave him the background for this story?

7. What new words did you gain from this? Define meritricious; prognathic; ba.n.a.l; vulpine; camaraderie; vilification; ennui; quixotic; nave; pharisaism. What can you say of Whitlock's vocabulary?

8. Other good stories dealing with politics are found in _Stratagems and Spoils_, by William Allen White.

HIS MOTHER'S SON

1. Note the quick beginning of the story; no introduction, action from the start. Why is this suitable to this story?

2. Why is slang used so frequently?

3. Point out examples of humor in the story.

4. In your writing, do you ever have trouble in finding just the right word? Note on page 123 how Edna Ferber tries one expression after another, and how on page 122 she finally coins a word--"unadjectivable." What does the word mean?

5. Do you have a clear picture of Emma McChesney? Of Ed Meyers?

Note that the description of Meyers in the office is not given all at once, but a touch here and then. Point out all these bits of description of this person, and note how complete the portrait is.

6. What have you learned in this story about the life of a traveling salesman?

7. What qualities must a good salesman possess?

8. Was Emma McChesney a lady? Was Ed Meyers a gentleman? Why do you think so?

9. This story is taken from the book called _Roast Beef, Medium_.

Other good books of short stories by this author are _Personality Plus_, and _Cheerful--by Request_.

BITTER-SWEET

1. Note the introduction, a characteristic of all of Fannie Hurst's stories. What purpose does it serve here? What trait of Gertie's is brought out? Is this important to the story?

2. From the paragraph on page 139 beginning "It was into the trickle of the last----" select examples that show the author's skill in the use of words. What other instances of this do you note in the story?

3. Read the sketch of the author. What episode in her life gave her material for parts of this story?

4. Notice how skillfully the conversation is handled. The opening situation developes itself entirely through dialogue, yet in a perfectly natural way. It is almost like a play rather than a story. If it were dramatized, how many scenes would it make?

5. What does the t.i.tle mean? Does the author give us the key to its meaning?

6. What do you think of Gertie as you read the first part of the conversation in the restaurant? Does your opinion of her change at the end of the story? Has her character changed?

7. Is the ending of the story artistic? Why mention the time-clock?

What had Gertie said about it?