nuation
of the Poe tradition, always more potent in France than elsewhere. I
have given this list of French writers of Short-stories merely as
evidence that the art flourishes in France as well as in the United
States, and not at all with the view of recommending the fair readers of
this essaylet to send at once for the works of these French writers,
which are not always--indeed, one may say not often--in exact accordance
with the conventionalities of Anglo-Saxon propriety. The Short-story
should not be void or without form, but its form may be whatever the
author please. He has an absolute liberty of choice. It may be a
personal narrative, like Poe's "Descent into the Maelstrom" or Hale's
"My Double, and How he Undid me;" it may be impersonal, like Mr. F.B.
Perkins's "Devil-Puzzlers" or Colonel De Forest's "Brigade Commander;"
it may be a conundrum, like Mr. Stockton's insoluble query, "The Lady or
the Tiger?" it may be "A Bundle of Letters," like Mr. James's story, or
"A Letter and a Paragraph," like Mr. Bunner's; it may be a medley of
letters and telegrams and narrative, like Mr. Aldrich's "Margery Daw;"
it may be cast in any one of these forms, or in a combination of all of
them, or in a wholly new form, if haply such may yet be found by
diligent search. Whatever its form, it should have symmetry of design.
If it have also wit or humor, pathos or poetry, and especially a
distinct and unmistakable flavor of originality, so much the better. But
the chief requisites are compression, originality, ingenuity, and now
and again a touch of fantasy. Sometimes we may detect in a writer of
Short-stories a tendency toward the over-elaboration of ingenuity,
toward the exhibition of ingenuity for its own sake, as in a Chinese
puzzle. But mere cleverness is incompatible with greatness, and to
commend a writer as "very clever" is not to give him high praise. From
this fault of super-subtilty women are free for the most part. They are
more likely than men to rely on broad human emotion, and their
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