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FOOTNOTES:
[27] Copyright, 1911, by J. B. Lippincott Co., and used by
permission.
VIII
PSYCHOLOGICAL STUDIES
Markheim.—Robert Louis Stevenson
On the Stairs.—Arthur Morrison
He [the author] can sometimes rouse our intense curiosity
and eagerness by the mere depiction of a psychological
state, as Walter Pater has done in the case of Sebastian
Storck and other personages of his Imaginary Portraits.
The fact that “nothing happens” in stories of this kind may
be precisely what most interests us, because we are
made to understand what it is that inhibits action.—Bliss
Perry, A Study of Prose Fiction.
PSYCHOLOGICAL STUDIES
A subtle distinction is to be observed between the character-study
and the psychological study, but it will not be supposed that writers
of short-stories plainly label the distinction, or that the two types are
frequently, if ever, found entirely separate. In the character-study
more attention is paid to the true natures of the actors, and the
demonstration of their natures is shown in the action of the story; in
the psychological study more stress is laid upon the actual operation
of thought, feeling and purpose—it is a laboratory study of what goes
on in the human heart, to use a somewhat vague but necessary
term, under stress of crisis.
The psychological study is the most difficult because the most
penetrating of all short-story forms, and in consequence the most
rare in its perfect presentation. To show the processes of reasoning,
the interplay of motive, the power of feeling acting upon feeling, and
the intricate combinations of these, calls for the most clear-sighted
understanding of man, and the utmost skill in literary art, lest the
story be lost in a fog of tiresome analysis and discussion. In
“Markheim” and “On the Stairs,” two master story-tellers are easily at
their best, for they never obtrude their own opinions, but swiftly and
with a firm onward movement the stories disclose the true inward
workings of the unique characters, while from mood, speech, and
action we infallibly infer all the soul-processes by which their
conclusions are reached.
MARKHEIM
BY ROBERT LOUIS STEVENSON
42. “Did you call me?” he asked, pleasantly, Note the symbolism
and with that he entered the room and of the closed door.
closed the door behind him.
43. Markheim stood and gazed at him with Key.
all his eyes. Perhaps there was a film upon
his sight, but the outlines of the newcomer seemed to change
and waver like those of the idols in the wavering candle-light
of the shop; and at times he thought he knew him; and at
times he thought he bore a likeness to himself; and always,
like a lump of living terror, there lay in his This states the
bosom the conviction that this thing was not problem.
of the earth and not of God.
44. And yet the creature had a strange air of the common-
place, as he stood looking on Markheim with a smile; and
when he added: “You are looking for the money, I believe?” it
was in the tones of everyday politeness.
45. Markheim made no answer.
46. “I should warn you,” resumed the other, “that the maid has
left her sweetheart earlier than usual and will soon be here. If
Mr. Markheim be found in this house, I need not describe to
him the consequences.”
47. “You know me?” cried the murderer.
48. The visitor smiled. “You have long been a favorite of
mine,” he said; “and I have long observed and often sought to
help you.”
49. “What are you?” cried Markheim: “the devil?”
50. “What I may be,” returned the other, This is an important
“cannot affect the service I propose to passage.
render you.”
51. “It can,” cried Markheim; “it does! Be Forecast of
helped by you? No, never; not by you! You Markheim’s struggle
do not know me yet, thank God, you do not with his better self.
know me!”
52. “I know you,” replied the visitant, with a sort of kind
severity or rather firmness. “I know you to the soul.”
53. “Know me!” cried Markheim. “Who can Does Markheim
do so? My life is but a travesty and slander really know himself?
on myself. I have lived to belie my nature.
All men do; all men are better than this disguise that grows
about and stifles them. You see each dragged away by life,
like one whom bravos have seized and muffled in a cloak. If
they had their own control—if you could see their faces, they
would be altogether different, they would shine out for heroes
and saints! I am worse than most; myself is more overlaid; my
excuse is known to me and God. But, had I the time, I could
disclose myself.”
54. “To me?” inquired the visitant.
55. “To you before all,” returned the Note the author’s
murderer. “I supposed you were intelligent. I name for Markheim.
thought—since you exist—you would prove
a reader of the heart. And yet you would propose to judge me
by my acts! Think of it; my acts! I was born Seek a cause for
and I have lived in a land of giants; giants such reasoning.
have dragged me by the wrists since I was
born out of my mother—the giants of circumstance. And you
would judge me by my acts! But can you not look within? Can
you not understand that evil is hateful to me? Can you not see
within me the clear writing of conscience, never blurred by
any willful sophistry, although too often disregarded? Can you
not read me for a thing that surely must be common as
humanity—the unwilling sinner?”
56. “All this is very feelingly expressed,” was Note the distinction
the reply. “But it regards me not. These between the final
points of consistency are beyond my importance of cause
province, and I care not in the least by what and effect.
compulsion you may have been dragged away, so as you are
but carried in the right direction. But time flies; the servant
delays, looking in the faces of the crowd and Contrast.
at the pictures on the hoardings, but still she
keeps moving nearer; and remember, it is as if the gallows
itself was striding toward you through the Christmas streets!
Shall I help you; I, who know all? Shall I tell Minor Moral
you where to find the money?” Crisis.