DEFINITION Short brief Fictional Prose Narrative story CHARACTERISTICS Few characters Single effect often moral theme didactic instructive CHARACTERISTICS Dictates of the FORM Setting ID: 1036712
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1. The SHORT STORY Story
2. DEFINITIONShort, briefFictionalProseNarrative, story
3. CHARACTERISTICSFew charactersSingle effectoften moralthemedidacticinstructive
4. CHARACTERISTICSDictates of the FORM:Setting =sparse, economical Plot =concise simplistic (lack of complex plot)Character = disclosed in action & encounterrarely fully developed
5. 19th CENTURYShort Story’s short historyRelatively modern genre (19thC.)SKETCHES vs. TALESextremesfrom which modern SS grewPoe, Hawthorne, Gogol, Hoffman, Kleist, Merimee:Tale + Sketch = Short Storycombined elements from both: less fantasy & conventionality of Tale, less strict factuality of Sketch
6. HISTORYShort prose fiction = as old as languageJestsAnecdotesPurposeful digressionsAllegorical romancesFairy talesShort mythsShort legends
7. HISTORYShort prose fiction = from Oral TraditionEarly storytellers used memory aids =Stock phrases, fixed rhythms, rhyme As a resultMost early stories = IN VERSEPoetic Tales
8. HISTORYEARLY SHORT TALES=PoeticDidactic, moralizing, good vs. bad behavior
9. ANCIENT WORLDThe Short Story Story
10. MIDDLE EASTAncient BABYLONIA-poetic tales, in verseEpic of Gilgamesh“The War of the Gods”“The Story of Adapa”CANAAN-“The Heavenly Bow”“The King Who Forgot”c.2000BC
11. EGYPTEGYPT-mostly in proseon papyrus(verse = reserved for religious hymns & other songs)didactic, moralistic“The Shipwrecked Sailor”“King Kofu & the Magicians”“Anpu & Bata (the 2 brothers)”c.2000-1000BC
12. INDIAINDIA-instructional parablesBuddhist ethical teachingssecular behavior & practical wisdomThe BrahmanasThe JatakasThe Panchatantraakin to Aesop’s animal fablesquite popular – translated into several languages c.900-100BC
13. HEBREWBIBLE & APOCRYPHA-didacticTobit, Judith, SusannaRuth, Esther, Jonahc.500-100BC
14. GREEKSGREEKS-Fables = most common form (like India)MoralizingDidactic Myths = popular too stories of GODS (love, war)basis of later Hesiod, Homer, tragedians c.300-100BC
15. GREEKSGREEKS-Digressionson-pointwithin larger worksnarrative interpolations – episodes w/in the wholeHerodotus: History with “logoi” (tales, pointed digressions)Romances“invented” by Greekslove, catastrophe, reunionerotic, bawdy – less didacticParthenius of Nicaea, Aristides of Miletusc.300-100BC
16. ROMANSROMANS-longer worksRhetoric fuller, more comprehensive developmentTales = digressionsDigressionslike the Greekson-point episodes within larger worksOvid’s MetamorphosesLucius Apuleius’s The Golden AssGaius Petronius Arbiter’s Satyricon c.100BC
17. MIDDLE AGESThe Short Story Story
18. MIDDLE AGESShort Tale –proliferation of the forma diversion, amusementimitation over development
19. SCANDINAVIASCANDINAVIA & ICELAND-invading Germanic barbariansmyths & sagasaggressive, violentgrim, bleak
20. CELTSCELTS-Ireland, Wales, Brittany/Bretonmagic, myth, & splendorLonges mac n-Uislenninfluenced the later chivalric romances3 major “matters”:Matter of Britain (King Arthur & his knights)Matter of France (Charlemagne cycle)Matter of Rome (antiquity, Paris & Helen, Pyramus & Thisbe)c.800
21. CELTSCELTS-*too LONG to be considered short storiesshorter = c.1100sChretien de Troyes (French, Arthurian legend) Marie de France Breton lays: short (600-800 lines) narrative poems @ love, chivalry, supernatural, fairies
22. HIGH & LOWMIDDLE AGES-Exemplum: short , didactic talelives of saints = role modelsDeeds of the Romans/Gesta Romanorum C.1000-1100Popular Fiction:common peoplebeast fables, jests, ribald fabliauxcommon sense, secular humor, sensualityBoccaccio’s & Chaucer’s fabliauxrunning counter to the exemplar
23. FRAMINGMIDDLE AGES-FRAMING:frame collection of stories by a single circumstanceunifying situationall stories = autonomous (added, removed)BUT alsopart of the wholeThe Seven Sages of Rome (link) 7 advocates tell stories to postpone prince’s execution, until his innocence is provenEastern & Western countries, BC to MAThe Thousand and One Nights (700-1700) Scheherazade tells stories to postpone her execution
24. MA: REFINEMENTThe Short Story Story
25. MA: REFINEMENTREFINEMENT-still Framingstill same types of stories (beast fables, sermons exemplar; fabliaux, romances, exempla)BUTexperimentation with FORMmix formstale = reflection o f the tellerrelationships between tellers= dramatic quality
26. MA: REFINEMENTREFINEMENT-BOCCACCIO:Decameron (10 days) c.1349/53height of Black Death plague in Florence10 people, 10 stories percharacter = subordinate to storyCHAUCER:Canterbury Tales c.1387/1400pilgrimage to Canterbury shrinecharacter through actions, assertions
27. ITALYgrowing popularityimitation (of Boccaccio)c.1300-1600short story = “novelle”Franco Sacchetti, Giovanni Fiorentino, Giovanni Sercambi, Masuccio SalernitanoMatteo Bandello, Agnolo Firenzuoloromances, surprise, deception, ribaldry, irony - realismGiamattista Basile (1600s) folktales w/realism+ amusing diversion + framing The Five Days (= Boccaccio)
28. FRANCEc.1400-1600Boccaccio: framed amusing diversions
29. SPAINc.1300-1600Europe’s most influential/powerful countryshort stories = part of novelsMiguel de Cervantes’ Exemplary Novels1613experimentalnot didacticnot diversionarybut @ man’s secular existence
30. MA: DECLINEThe Short Story Story
31. DECLINEc.1600-1700birth of novelimitations of Boccaccio & Chaucersame formsescapism, amusing diversionsrebirth of drama & poetryNeo-Classicismbirth of journalistic sketches
32. DECLINEc.1600-1700birth of journalistic sketchesseriousnessrealismfascination w/foreign countriesinterest in social conditionstravel books, sermons, biographies, essays
33. MIDDLE AGESRENAISSANCE & ENLIGHTENMENTamusingdiversionaryescapistframingimitationsfantasyseriousnessfactrealismsocial issuesforeign landsrebirth of old formsbirth of new forms
34. MODERN SHORT STORY: 19th C.The Short Story Story
35. MODERN SHORT STORYc.1800s“simultaneously”GermanyUnited StatesFranceRussia
36. MODERN SHORT STORYc.1800sWhy then?rise in middle classrise in literacyrise in literate middle classrealism & at the same time fantasystifled by Neo-Classicism (decorum) back to own past – myths, fables, Old Days[what gave birth to Romanticism]
37. MODERN SHORT STORYGERMANY-Goethe, Christoph Wieland, Friedrich Schleiermacher*Heinrich von Kleistlike Poe: psychological, confrontations w/fantastic*ETA Hoffmannexotic places, supernatural phenomenon Ludwig Tiecksome = realistic, journalisticothers = fantastic, intense, ironic, true to character
38. MODERN SHORT STORYUNITED STATES-Realism: regionalism (Bret Harte, SO Jewett)objectivity, real places & events & peopleImpressionism:narrator’s consciousness & psychological attitudessubjective, narrator’s POV (unreliable, biased, insane)less realistic in the sense of an objective reality
39. 19th CENTURYSKETCHTALEintercultural (from culture to culture)culturally specific motifs, characters, symbols best understood by that culturetales = intraculturalculture speaking to itself about itselfperpetuating its values & identitypassing along from generation to generation16thC.: rise in middle class & their interest in social realism (journalistic) + foreign places (intercultural)concerned with the presentolder than the Sketcha narrative way for a culture to express its vision of itselfpast (ancestors & gods) &present (place in universe)suggestive, incomplete, understated, subtlehyperbolic, overstatedmode = writtenmode = spoken, oralwritten as if there (journalistic)told as if removed from event (a recreation of the past)factual & journalistic, photographicmore analytical & descriptiveless narrative & dramaticfantastic, mythicdramaticIrving’s The Sketch BookHowell’s Suburban SketchesPoe’s Tales of the Grotesque & ArabesqueMelville’s The Piazza Tales
40. MODERN SHORT STORYUNITED STATES-*Edgar Allan Poepsychological, confrontations w/fantasticnarrator = unreliable, distorts, hallucinates*reader gets only narrator’s impressions of the scene“Tell-Tale Heart,” Imp of the Perverse,” Fall of the House of Usher*Washington IrvingBOTH realistic sketches & impressionistic storiesnarrator’s imagination, symbolic surreality of dreams“Rip van Winkle,” The Stout Gentleman”*Nathaniel HawthorneBOTH realistic & impressionistichistoric facts & events w/symbolic importancedetails = symbols“Endicott & the Red Cross”
41. MODERN SHORT STORYIMPRESSIONISM-*Poe, Henry James, Melville, Bierce“impressions” registered by events on the characters’ mindsnot focusing on objective realityStory = account of someone’s impression of an eventsubjective: realistic to that personNarrator = unreliabledistorting, fabricating, fantasizing
42. MODERN SHORT STORYIMPRESSIONISM-Melville’s “Bartleby the Scrivener”Twain’s “Celebrated Jumping Frog…”Bierce’s “Occurrence at OC Bridge”James’ “Turn of the Screw”
43. MODERN SHORT STORYSERIOUSNESS @ ART-LITERARY CRITICISM*Edgar Allan Poe (unity of effect)critical attention paid to the short storydiscussing it as a serious art formwhat is good, badcraftsmanshipartistic integrityseriousness
44. MODERN SHORT STORYFRANCE-Prosper Merimee “Carmen”(turned into famous opera)detached observation of emotional eventless impressionismHonore de Balzac, Gustave FlaubertAlfred de Vigny, Theophile GautierAlphonse Daudet: “Letters from My Mill”BOTH fantastic & realistic
45. MODERN SHORT STORYFRANCE-*Guy de Maupassantobjective anecdotesrevealing moments in middle class lives
46. MODERN SHORT STORYRUSSIA-fables early onIvan Krylov = most read fabulist, help make short fiction popular in Russia, borrowed heavily from Aesop & other sourcesAleksandr Pushkin: poet & writerobjective/detached account of emotional event“The Queen of Spades”
47. MODERN SHORT STORYRUSSIA-*Nikolay Gogol:impressionistic- hallucinatory, mix of dream & realityrealism + fantasyArabesques, “The Overcoat”*Ivan Turgenev:calm, restraint, simple use of languagedetached observationantithetical to GogolA Sportsman’s Sketches
48. MODERN SHORT STORYRUSSIA-*Fyodor Dostoyevsky:experimented w/impressionismhuman motives“White Nights”*Leo Tolstoy:human motivesnon-impressionistic means to capture psychological “Kreutzer Sonata,” Death of Ivan Ilyich
49. MODERN SHORT STORYRUSSIA-**Anton Chekhov:objective storyperception yet compassionless on plot, character = #1“The Grasshopper,” “In the Ravine,” “The Darling”
50. MODERN SHORT STORY: 20th C.The Short Story Story
51. MODERN SHORT STORY20th CENTURY-Developments:world-wideKafka, Pirandello, JL Borgesexplosion due to literary journalsFord Maddox Ford’s Transatlantic ReviewScribner’s Magazine
52. MODERN SHORT STORY20th CENTURY-CHANGES:19th c: overwhelming or unique event that informed the story20th c:subtle actions & unspectacular eventsless about plot“nothing happens in these stories”(b/c of TV & movies)psychological (not physical) conflictany action reveals the psychological underpinnings of story
53. MODERN SHORT STORY20th CENTURY-CHANGES:20th c:experimentation w/FORMless plotmore psychologicalplay w/archetypal characters & plotsHemingway, KA Porter, DH Lawrence, K. MansfieldWilliam Faulkner, James Joycethough some authors still focused on Plot (O. Henry)
54. RECAPThe Short Story Story
55. SHORT STORYFABLETALETALL TALEFAIRY TALEPARABLEbrief, moral, flat characters, simpleplot & theme over charactermeans “speech”brief, strange events, bare summary, flat charactersplot & theme over characterSUMMARYterse, general narration skipping ahead, jumping time“and it came to pass” “then one day” “it wasn’t long before” folk story, recount of superhero or narrator’s imaginary experience Braggingtold straight-facedscoffed at by audiencemagical world (witches, goblins)by/for uneducateddidacticto instruct, to shape the thoughts & behaviors of the audienceto set forth a truth @ our world/conditiontied to the oral tradition
56. SHORT STORYSHORT STORYTALE, Fable, Parablemade to seem realPlot & Thememore Characterization, Settingmore than Summary – description (realism)longertied to a Written Traditionmade to seem imaginative, unrealPlot & Themeless Characterization, SettingSummary brieftied to the Oral Tradition
57. ENDThe Short Story Story