Category: Literature

Jacob and Wilhelm Grimm. Household Tales.
1909-14.

Wise Folks

ONE day a peasant took his good hazel-stick out of the corner and said to his wife, "Trina, I am going across country, and shall not return for three days. If during that time the cattle-dealer should happen to call and want to buy our three cows, you may strike a bargain at once, but not unless you can get two hundred thalers for them; nothing less, do you hear?" "For heaven's sake just go in peace," answered the woman, "I will manage that." "You, indeed," said the man. "You once fell on your head when you were a little child, and that affects you even now; but let me tell you this, if you do anything foolish, I will make your back black and blue, and not with paint, I assure you, but with the stick which I have in my hand, and the colouring shall last a whole year, you may rely on that." And having said that, the man went on his way. 1

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Brander Matthews (1852-1929). The Short-Story. 1907.

Appendix

THE SHORT-STORY differs essentially from all the longer forms of fiction because its brevity forces the writer to confine himself to a single one of the three elements which the author of a novel may combine at his pleasure. These three elements are the plot, the characters, and the setting. The novelist may pay equal attention to what happens, to the persons to whom these things happen, and to the places where they happen. But the limitations of space forbid this variety to the short-story writer; he has to make his choice among the three. If he centers his efforts on his plot, he has no time to elaborate either character or background; this is what Poe has done in the "Murders in the Rue Morgue." If he focuses the interest on a character, his plotting must be summary, and his setting can only be sketched in; this is what George W. Cable has preferred to do in "Posson Jone." If he concentrates the reader's attention on the environment, on the place where the event happens, on the atmosphere, so to speak, he must use character and incident only to intensify the impression of the place and the time; this is what we find in Hamlin Garland's "Return of the Private." When once the writer has decided which of the three elements he intends to employ, he must abide by his decision. 1

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Arthur Quiller-Couch, ed. (1863-1944). The Oxford Book of Ballads. 1910.

Dick o' the Cow

I

NOW Liddesdale has lain lang in,
There is na ryding there at a';
The horses are a' grown sae lither fat,
They downa stir out o' the sta'.

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