Project #1. Web of Theory. Michael's Commentaries
Edgar Allen Poe's Theory of the Short Story:
Edgar Allen Poe's theory of the short story revolves around the idea that the work must, above all else, possess a "unity of effect or impression." The story must therefore tend toward a central and all important effect which serves as a unifying quality for the story as a whole. The author's tone, and choice of events must thus be carefully selected and crafted in such a way as to bring about this desired effect. This "effect," he asserts, must be both "novel"and "vivid." Another way of looking at this theory suggests that the author must compose the story with the conclusion, or denouement, constantly in mind. That is, each choice made in the construction of the narrative must contribute to the dominant and pre conceived effect so as to lend the story a sense of consequence. Poe argues that the incidents which compromise the story must be invented and fashioned with one impression in mind. It is this ultimate design that is the essential quality of the short story.
Applicability of Poe's Theory of the short story to "The Cask of Amontillado" by Poe:
The Cask of Amontillado exemplifies Poe's theory of the short story. The construction of the story is meticulously designed for the sole purpose of evoking, in Poe's own words, "excessive" emotion at the story's climax. Each detail clearly contributes to the overwhelming effect of horror, irony, and revenge desired at the narrative's conclusion. To evoke the sense of horror, Poe emphasized the actual burial practice and stressed the agonizing sounds and atmosphere that characterize the denouement, evoking the lasting impression. Each ironic comment -- "It will not kill me," "You? Impossible! A mason?," "I drink to the buried that repose around us," etc. -- is subtly crafted to derive its ironic nature from the impending events, thus focusing the attention of the reader, through the narrative tone, on the denouement and it's total effect or impression. Each detail of event, dialogue, and narration is thus carefully crafted to establish the "preconceived effect." The very nature of the descent motif, which overlays the entire narrative, is to lead both characters and reader deeper in the darkness of the narrator's design and toward the preconceived design of both the fictional character and of the author.
Applicability of Poe's Theory of the short story to "A Dill Pickle" by Mansfield:
It is interesting to note Mansfield's own theory on writing which suggests that she believes tone color and verbal texture to be of utmost importance. While she does not specify the effect to which such details need be applied, her basic idea is compatible with Poe's as both authors stress the need for creating an overall impression through the careful construction of the minute details forming the fabric of the narrative. In "A Dill Pickle," the dominant impression created is not the result of a culmination of details by the story's conclusion. Thus, in contrast to Poe's theory that suggests a story be written to tend toward a singular unified effect, Mansfield fashions details of dialogue and narrative technique so as to evoke a number of unique impressions. For instance, she carefully crafts her descriptions of the young woman's memories so as to evoke a very specific atmosphere and mental impression. "Yes, it had been a wonderful afternoon, full of germanium and verbena and - warm sunshine." As Mansfield herself states, "the sound of every sentence" can be crafted precisely, achieving a specific quality. This effect, however, is unlike Poe's concept of the carefully designed effect in that Poe's is an overriding effect that unites the entire story whereas Mansfield creates multiple unique moments in her story To identify a dominant effect or impression in "A Dill Pickle" is somewhat difficult. Though themes such as rejection, longing, memory, etc. can be identified, the story's denouement, abrupt as it is, leaves no easily identifiable impression that characterizes the story in its entirety and to which all details of the narrative contribute. Thus Poe's theory of short fiction is less well established in the Mansfield story.
Applicability of Poe's Theory of the short story to "Rue de Lille" by Gallant:
On one hand, this story lacks the unity of direction so acclaimed by Poe. The narrative follows a far more random and chaotic order in both it's chronological aspect and reflective aspect than the Poe narrative. "Rue de Lille" jumps between different reflective states as the author recalls certain distinct traits of his deceased wife as they correlate to the specific memory being recalled. Thus the directional aspect by which all events, details, and characterizations lead toward a singular effect, is lacking in this work. On the other hand, Gallant's narrative is unified by a pervasive tone or mood. This color, in "Rue de Lille," is one of darkness, moroseness, reflective sorrow, and stagnation contrasted with fondness. Poe suggests that the unifying effect be crafted from the first sentence. Indeed, Gallant's story begins with, and really never ceases to emphasize, this tone described. The story begins with the themes of death, loneliness, darkness, pessimism, failed aspirations and even drowning. Throughout the story, details of triviality are mentioned to emphasize the quality of futility in the lives explored. As well, the reflective quality that characterizes the piece, serves as a unifying effect, of which Poe would approve. Thus the Gallant story demonstrates both compatibility and incompatibility with Poe's theoretical ideals for short fiction.
Applicability of Poe's Theory of the short story to "As Birds Bring Forth the Sun" by MacLeod:
MacLeod's story exemplifies Poe's idea that from the very first sentence, the author must work to achieve "the outbringing" of the central effect. Indeed, MacLeod's story focuses immediately on the introduction of the cu mor glas as this is necessary in the creation of the legend. MacLeod's theoretical assertion that an author ought to be "clear rather than coy" is compatible with Poe's ideals as illustrated by this story's unambiguous development of a central concept or effect. This effect might be termed an exploration of the cu mor glas legend in the lives of multi generational characters. MacLeod spares us ambiguities and opts, instead, to explain quite clearly that the dog was "rather like the Loch Ness monster....Seen but not recorded...." He further explains quite simply that the dog was "seen" at times of death and had become a part of the family. Thus the story tends toward the central effect in a clear and direct manner. Chronologically the story is linear and in the elaboration of incidents, the style is unambiguous; stating only what is necessary to elaborate the development of the legend. Each incident, as Poe's theory suggests, is thus invented and combined in such a way as to establish the preconceived effect; the creation of the cu mor glas a bhais.