Читать книгу The Great English Short-Story Writers, Volume 1 - Коллектив авторов, Ю. Д. Земенков, Koostaja: Ajakiri New Scientist - Страница 5

As has been already stated, a short-story theme, however fine, can only be converted into good art by the suppression of whatever is discursive or ungainly, so that it becomes integral and balanced in all its parts; and by the addition of a stroke of fantasy, so that it becomes vast, despite its brevity, implying a wider horizon than it actually describes; but, in excess of these qualities, there is a last of still greater importance, without which it fails —the power to create the impression of having been possible.

Now the beast-fable, as handled by Aesop, falls short of being high art by reason of its overwhelming fantasy, which annihilates all chance of its possibility. The best short-stories represent a struggle between fantasy and fact. And the mediaeval monkish tale fails by reason of the discursiveness and huddling together of incidents, without regard to their dramatic values, which the moral application necessitates. In a word, both are deficient in technique – the concealed art which, when it has combined its materials so that they may accomplish their most impressive effect, causes the total result to command our credulity because it seems typical of human experience.

The technique of the English prose short-story had a tardy evolution. That there were any definite laws, such as obtain in poetry, by which it must abide was not generally realized until Edgar Allan Poe formulated them in his criticism of Nathaniel Hawthorne.

As he states them, they are five in number, as follows: Firstly, that the short-story must be short, i.e., capable of being read at one sitting, in order that it may gain "the immense force derivable from totality." Secondly, that the short-story must possess immediateness; it should aim at a single or unique effect – "if the very initial sentence tend not to the outbringing of this effect, then it has failed in its first step." Thirdly, that the short-story must be subjected to compression; "in the whole composition there should not be one word written of which the tendency, direct or indirect, is not to the one pre-established design." Fourthly, that it must assume the aspect of verisimilitude; "truth is often, and in very great degree, the aim of the tale – some of the finest tales are tales of ratiocination." Fifthly, that it must give the impression of finality; the story, and the interest in the characters which it introduces, must begin with the opening sentence and end with the last.

These laws, and the technique which they formulate, were first discovered and worked out for the short-story in the medium of poetry.8 The ballad and narrative poem must be, by reason of their highly artificial form, comparatively short, possessing totality, immediateness, compression, verisimilitude, and finality. The old ballad which commemorates the battle of Otterbourne, fought on August 10, 1388, is a fine example of the short-story method. Its opening stanza speaks the last word in immediateness of narration:

Thomas Hood's poem of The Dream of Eugene Aram, written at a time when the prose short-story, under the guidance of Hawthorne and Poe, was just beginning to take its place as a separate species of literary art, has never been surpassed for short-story technique by any of the practitioners of prose. Prof. Brander Matthews has pointed out that "there were nine muses in Greece of old, and no one of these daughters of Apollo was expected to inspire the writer of prose-fiction."9

He argues from this that "prose seemed to the Greeks, and even to the Latins who followed in their footsteps, as fit only for pedestrian purposes." It is more probable that, as regards prose-fiction, they did not realize that they were called upon to explain the omission of the tenth muse. Her exclusion was based on no reasoned principle, but was due to a sensuous art-instinct: the Greeks felt that the unnatural limitations of the poetic medium were more in keeping with the unnatural10 brevity of a story which must be short. The exquisite prose tales which have been handed down to us belong to the age of their decadence as a nation; in their great period their tellers of brief tales unconsciously cast their rendering in the poetic mould.11 In natures of the highest genius the most arduous is instinctively the favorite task.

Chaucer, by reason of his intimate acquaintance with both the poetry and prose-fiction of Boccaccio, had the opportunity to choose between these two mediums of short-story narration; and he chose the former. He was as familiar with Boccaccio's poetic method, as exemplified in the Teseide, as with his prose, as exemplified at much greater length in the Decameron, for he borrowed from them both. Yet in only two instances in the Canterbury Tales does he relapse into prose.

The Teseide in Chaucer's hands, retaining its poetic medium, is converted into the Knight's Tale; while the Reeve's Tale, the Franklin's, and the Shipman's, each borrowed from the prose version of the Decameron, are given by him a poetic setting. This preference for poetry over prose as a medium for short-story narration cannot have been accidental or unreasoned on his part; nor can it be altogether accounted for by the explanation that "he was by nature a poet," for he did experiment with the prose medium to the extent of using it twice. He had the brilliant and innovating precedent of the Decameron, and yet, while adopting some of its materials, he abandoned its medium. He was given the opportunity of ante-dating the introduction of technique into the English prose short-story by four hundred and fifty years, and he disregarded it almost cavalierly. How is such wilful neglect to be accounted for? Only by his instinctive feeling that the technique, which Boccaccio had applied in the Decameron, belonged by right to the realm of poetry, had been learned in the practising of the poetic art, and could arrive at its highest level of achievement only in that medium.

That in Chaucer's case this choice was justified cannot be disputed; the inferiority of the short-story technique contained in his two prose efforts, when compared with that displayed in the remainder of the Canterbury Tales, is very marked. Take, for instance, the Prioress' Tale and apply to it the five short-story tests established by Poe, as a personal discovery, four and a half centuries later; it survives them all. It attains, in addition, the crowning glory, coveted by Stevenson, of appearing typical. There may never have been a Christian child who was martyred by the Jews in the particularly gruesome way described – probably there never was; but, in listening to the Prioress, it does not enter into our heads to doubt her word – the picture which she leaves with us of how the Christian regarded the Jew in the Middle Ages is too vivid to allow any breathing-space for incredulity. No knowledge of mediaeval anti-Jewish legislation, however scholarly, can bring us to realize the fury of race-hatred which then existed more keenly than this story of a little over two thousand words. By its perusal we gain an illuminating insight into that ill-directed religious enthusiasm which led men on frenzied quests for the destruction of the heretic in their own land and of the Saracen abroad, causing them to become at one and the same time unjust and heroic. In a word, within the compass of three hundred lines of verse, Chaucer contrives to body forth his age – to give us something which is typical.

The Morte D'Arthur of Malory is again a collection of traditional stories, as is the Gesta Romanorum, and not the creative work of a single intellect. As might be expected, it straggles, and overlays its climax with a too-lavish abundance of incidents; it lacks the harmony of values which results from the introduction of a unifying purpose —i. e., of art. Imaginative and full of action though the books of the Morte D'Arthur are, it remained for the latter-day artist to exhaust their individual incidents of their full dramatic possibilities. From the eyes of the majority of modern men the brilliant quality of their magic was concealed, until it had been disciplined and refashioned by the severe technique of the short-story.

By the eighteenth century the influence of Malory was scarcely felt at all; but his imaginativeness, as interpreted by Tennyson, in The Idylls of the King, and by William Morris, in his Defence of Guinevere, has given to the Anglo-Saxon world a new romantic background for its thoughts. The Idylls of the King are not Tennyson's most successful interpretation. The finest example of his superior short-story craftsmanship is seen in the triumphant use which he makes of the theme contained in The Book of Elaine, in his poem of The Lady of Shalott. Not only has he remodelled and added fantasy to the story, but he has threaded it through with atmosphere– an entirely modern attribute, of which more must be said hereafter.

So much for our contention that the laws and technique of the prose short-story, as formulated by Poe, were first instinctively discovered and worked out in the medium of poetry.