Atlantic Narratives Part 62

2. What do you like best in the description of the old-fas.h.i.+oned 'bus?

3. Justify the author's early paragraphs on the herds of dumb cattle.

4. Can you a.n.a.lyze the method by which the author makes even her most trivial details of the trip seem vital and interesting?

5. Is it true that most of these details--both narrative and descriptive--a.s.sume greater importance because they are seen through a child's vision?

6. What items bring out the disturbed feelings of the Franciscan soon after he enters the 'bus?

7. Trace the details that very gradually portray the character of Louise's husband.

8. What part does the description of the various costumes play in the portrayal of character?

9. As Louise a.n.a.lyzes to the Franciscan the past relations existing between them, do we find ourselves sympathizing with one or the other, or with neither?

10. What is the intended symbolism of the t.i.tle, _Spendthrifts_?

11. What is symbolized by the herd of cattle?

CHILDREN WANTED

LUCY PRATT, a frequent contributor to magazines, lives in Cambridge, Ma.s.sachusetts.

So slight is the plot in _Children Wanted_ that one might on reflection question whether there is a plot. In the actual reading, one becomes too absorbed in the very real situation that Miss Pratt presents to become coldly a.n.a.lytical. The vividness of Master Crosby Tarbell's particular adventure with life is reflected, not only in the letter Mr. Henry Tarbell dispatches to a certain Pony Man, but in the reader's own warm indignation at the carelessness, the cowardice, of compromising grown-ups in general. At the same time, Miss Pratt's masterly use of commonplace detail, fully as much as the poignant bits of character delineation, such as that which ends the story, makes of _Children Wanted_ as effective a bit of narrative technique as it is a striking example of the propagandist's art.

_Suggested Points for Study and Comment_

1. Is the chief interest of the story in the princ.i.p.al character or in the underlying theme?

2. Would the experience have meant as much to any child?

3. Why is the 'lady on the hill road' added to the list of customers?

4. What does Crosby's father add to the story that Crosby's mother could not? Would you have preferred to be told more about Mrs. Tarbell?

5. Do you find any explanations for the climax in the previous characterization of Crosby? How has the detailed description of the barn helped to reveal the lad's sensitiveness?

THE SQUIRE

ELSIE SINGMASTER (Mrs. H. Lewars), a Pennsylvanian by birth and residence, has been writing at more or less irregular intervals ever since her first story was published in _Scribner's Magazine_ twelve or thirteen years ago. Her reputation has been largely won by her sympathetic portrayal of the Pennsylvania Dutch character.

How adequately, how finally, a person can be characterized by his own conversations, all the princ.i.p.als in this little Millerstown drama demonstrate. Weakness, crudeness, selfishness, speak out their own existence. And, to s.h.i.+ne by contrast in the midst of all this pettiness, is the figure of a man who makes the t.i.tle 'Squire' mean what it has meant to certain English towns.h.i.+ps, and whatever more comes from responsibility a.s.sumed without force of precedent or hope of recompense.

_Suggested Points for Study and Comment_

1. What are the elements which produce the atmosphere of crudity that stands for Millerstown? Could any description of the town produce a like effect?

2. Would it have detracted from the story if Stemmel had been more elaborately portrayed?

3. How is the solution of the case prevented from appearing melodramatic?

4. Would the Squire's sacrifice have gained or lost power if Adam and Sula were less irresponsible?

5. How do the Squire's actions correspond to the tradition of his t.i.tle?

How different are they from what might have happened in a like situation in England?

6. Do you think Adam and Sula worthy of the Squire's interest?

7. What stories growing out of this one remain to be told? Which would be the most interesting?

GREGORY AND THE SCUTTLE

CHARLES HASKINS TOWNSEND, an ichthyologist of international reputation, has been a member of many U. S. government commissions. His present address is The Aquarium, New York.

_Gregory and the Scuttle_, translated into the literal, means 'How the octopus came to the Aquarium.' In the literal version, the account might have been buried easily and unregretfully in the dry-as-dust records of the American Aquarium Society, or some such august receptacle of information; as it is, it becomes the easy, chatty adventure of one who proves himself human as well as scientific. Moreover, it behooves the practical investigator of the educative process to note that, by this sugar-coated method, various capsules of information slip down without violent contraction on the part of him who will be only entertained.

_Suggested Points for Study and Comment_

1. How is the t.i.tle of the story indicative of its general tone?

2. Would Gregory's vision of the adventure have been an interesting one?

What would it lack that the scientist's has?

3. When, if ever, does the scientist take the place of the story-teller?

4. What is the chief charm of the account? Would a series of such adventures--with all necessary variation--be altogether as delightful?

IN NOVEMBER

EDITH WYATT was born in Wisconsin, and educated at Chicago and Bryn Mawr. She has for years been a frequent contributor to the best of our American magazines. Her present home is in Chicago.

While listening to Miss Brackett's nave recital of her personal narrative, we somehow never lose consciousness of the interesting environment created in the beginning paragraphs. In most stories where the interest in surroundings is strong, we are chiefly concerned with the setting in which the incidents of the plot take place. In this instance, however, we are chiefly interested in the autumnal atmosphere in which Miss Brackett's ingenuous tale is told. Here is Lake Michigan, all green and mist-blown, banding the whole horizon. There, in the broad southward, lie the full contours of the forest-covered dunes. And over all is the gray and purple sky of the late autumn. In the inner circle of all this is the camp, with Elsie Norris vividly portrayed in the centre. Her isolation is broken by the chance guest, who tells the intimate personal episodes, so charmingly marked by the artless notes of unselfishness. When the guest leaves and the other campers return, and Miss Norris wanders off alone to gather firewood for supper, the brooding influence of the pervading November scene is felt to be even more profound and impressive.

_Suggested Points for Study and Comment_

1. What are the three or four most graphic touches in the story?

2. What, aside from the setting, is the most impressive element in the story?

3. What comment can you make on Miss Wyatt's feeling for style? What effects does she produce?