The Short Story: An Introduction

By Paul March-Russell | Go to book overview

14
Romance and the Fragment

In the preceding chapters, a tendency towards fragmentation has been noted within the short story: character viewed as an incomplete object, rural communities evoked as they verge on vanishing, the city dramatised as an irrecoverable absence. In this chapter I want to explore in more detail the aesthetic relationship between the short story and the fragment.

Although it was Edgar Allan Poe who argued that the artistic success of the short story lay in its 'unity of impression', Poe also contended in the same review of Nathaniel Hawthorne that the structure of the short story tended towards a 'single effect', in other words, a fragment upon which the whole turned. As suggested in Chapter 9, it was relatively straightforward to graft Poe's single effect onto the early modernist notion of the epiphany, the moment of illumination that was itself foreshadowed by Romantic aesthetics, for instance William Wordsworth's belief in 'spots in time'. Mary Rohrberger, summarising her influential study of Hawthorne, makes a similar connection. Following Hawthorne's own distinction between realism and romance in his preface to The House of the Seven Gables (1851), Rohrberger associates his tales with romance narrative: 'the allegorical framework of myth, the historical past, and patterns of images creating metaphors, symbolic identifications' (in Winther et al. 2004: 4). Yet, she also reads Hawthorne's aesthetic through the critical language of modernism: 'Hawthorne's best stories clearly ended in epiphany' (in Winther et al. 2004: 5). Despite the many ambiguities that surface in Hawthorne's writing, for example in 'Young Goodman Brown' (1835) or 'The Minister's Black Veil' (1836), Rohrberger still seeks to draw out the underlying unity favoured by New Criticism and by modernist poets such as T. S. Eliot. Nevertheless, in citing Hawthorne as a progenitor of the short story and in linking his tales to romance, Rohrberger opens up a critical pathway.

-165-

Notes for this page

Add a new note
If you are trying to select text to create highlights or citations, remember that you must now click or tap on the first word, and then click or tap on the last word.
One moment ...
Project items

Items saved from this book

This book has been saved
Highlights (0)
Some of your highlights are legacy items.

Highlights saved before July 30, 2012 will not be displayed on their respective source pages.

You can easily re-create the highlights by opening the book page or article, selecting the text, and clicking “Highlight.”

Citations (0)
Some of your citations are legacy items.

Any citation created before July 30, 2012 will labeled as a “Cited page.” New citations will be saved as cited passages, pages or articles.

We also added the ability to view new citations from your projects or the book or article where you created them.

Notes (0)
Bookmarks (0)

You have no saved items from this book

Project items include:
  • Saved book/article
  • Highlights
  • Quotes/citations
  • Notes
  • Bookmarks
Notes
Cite this page

Cited page

Style
Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

(Einhorn, 1992, p. 25)

(Einhorn 25)

1

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited page

Bookmark this page
The Short Story: An Introduction
Settings

Settings

Typeface
Text size Smaller Larger
Search within

Search within this book

Look up

Look up a word

  • Dictionary
  • Thesaurus
Please submit a word or phrase above.
Print this page

Print this page

Why can't I print more than one page at a time?

Full screen
/ 294

matching results for page

Cited passage

Style
Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn, 1992, p. 25).

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences."1

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited passage

Welcome to the new Questia Reader

The Questia Reader has been updated to provide you with an even better online reading experience.  It is now 100% Responsive, which means you can read our books and articles on any sized device you wish.  All of your favorite tools like notes, highlights, and citations are still here, but the way you select text has been updated to be easier to use, especially on touchscreen devices.  Here's how:

1. Click or tap the first word you want to select.
2. Click or tap the last word you want to select.

OK, got it!

Thanks for trying Questia!

Please continue trying out our research tools, but please note, full functionality is available only to our active members.

Your work will be lost once you leave this Web page.

For full access in an ad-free environment, sign up now for a FREE, 1-day trial.

Already a member? Log in now.