gri_2003_m_46_b06_f04_014
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- Mean dissimilarity: 0.034
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Transcribers
- 71763883 - the3esses
- 71799343 - Preacher357
- 72230653 - smallex210
- WINNER - 72474909 - Zooniverse2017
- 72785269 - Eloquens
- 73199052 - hoskinml
- 73247656 - wrightj2h
71763883 - the3esses
3 Somerset Maughan has been popular with film makers and Noel Coward's one-act plays have also been used; America has reverently taken O. Henry from the shelf which usually only appears in trailers; Max Ophuls has adapted Guy de Maupassant. Original film scripts are often reminiscent of the first story type, too: many critics compared the episodies of Paisa de Maupassant.The short-story in the de Maupassant-Maughan manner encourages distrust. We read the story, watch the scene established vividly - provincial France, the British Empire - or what have you : we may be taken with the man's economy and precision. We meet, as it were, the people: the charming woman or the beastly man, say, and if one is au fait with the idiom a question rises. This charming woman, will she seem charming at the end of the story, this brute, is he totally low? Unlikely, for this type of short story requires a twist, either of situation, values, or character: complacency is overturned, heartlessness is circuitously vindicated, affection brilliantly short circuits itself, and so on. The obligatory angle is the expression of a Digest-scepticism. The short story is a vehicle for fragmentary insights, produced by the dictates of literary form as much as by an attitude to life. The attitude follows the form, not the other way about. I venture to guess, without any statistical support whatsoever, that most readers of the short story are not students of literary form. However they frequently accept the crisp and tiny worldliness of the short story and assume it to be valid outside the formal limits of the game.
Irving Howe (Sewance Review, Winter, 1949) observes that 'unlike the novelist the short story writer can seldom enjoy a sense
71799343 - Preacher357
3 Somerset Maugham has been popular with film makers and Noel Cow-ard's one-act plays have also been used; America has reverently
taken O. Henry from the shelf which usually only appears in trail-
ers; Max Ophuls has adapted Guy de Maupassant. Original film
scripts are often reminiscent of the first story type, too: many
critics compared the episodies of Paisa with de Maupassant.
The short-story in the de Maupassant-Eaugham manner encourages
distrust. We read the story, watch the scene established vividly -
provincial France, the British Empire - or what have you: we may
be taken with the man's economy and precision. We meet, as it
were, the people: the charming woman or the beastly man, say, and
if one is au fait with the idiom a question rises. This charming
woman, will she seem charming at the end of the story, this brute,
is he totally low? Unlikely, for this type of short story re-
quires a twist, either of situation, values, or character: com-
placency is overturned, heartlessness is circuitously vindicated,
affection brillantly short circuits itself, and so on. The ob-
ligatory angle is the expression of a Digest-scepticism. The
short story is a vehicle for fragmentary insights, produced by the
dictates of literary form as much as by an attitude to life. The
attitude follows the form, not the other way about. I venture to
guess, without any statistical support whatsoever, the most read-
ers of the short story are not students of literary form. How-
ever they frequently accept the crisp and tiny worldliness of the
short story and assume it to be valid outside the formal limits
of the game.
Irving Howe (Sewance Reiew, Winter, 1949) observes that 'un-
like the novelist the short story writer can seldom enjoy a sense
72230653 - smallex210
Somerset Maughan has been popular with filmmakers and Noel Coward's one-set plays have also been used; America has reverently taken O. Henry from the shelf which usually only appears in trailers; Max Ophuls has adapted Guy de Maupassant. Original film scripts are often reminiscent of the first story type, too: many critics compared the episodes of Paisa with de Maupassant. The short-story in the de Maupassant-Maugham manner encourages distrust. We read this, watch the scene established vividly provincial France, the British Empire- or what have you: we may be taken with the man's economy and precision. We meet, as it were, the people: the charming woman or the beastly man, say, and if one is au fait with the idiom a question rises. This charming woman, will she seem charming at the end of the story, this brute, is he totally low? Unlikely, for this type of short story requires a twist, either of situation, values, or character: complacency is overturned, heartlessness is circuitously vindicated, affection brilliantly short circuits itself, and so on. The obligatory angle is the expression of a Digest-scepticism. The short story is a vehicle for fragmentary insights, produced by the dictates of literary form as much as by an attitude to life. The attitude follows the form, not the other way about. I venture to guess, without any statistical support whatsoever, that most readers of the short story are not students of literary form. However they frequently accept the crisp and tiny worldliness of the short story and assume it to be valid outside the formal limits of the game.Irving Howe (Sewanee Review, Winter, 1949) observes that 'unlike the novelist the short story writer can seldom enjoy a sense.
WINNER - 72474909 - Zooniverse2017
3 Somerset Maugham has been popular with film makers and Noel Cow-ard's one-act plays have also been used; America has reverently
taken O. Henry from the shelf which usually only appears in trail-
ers; Max Ophuls has adapted Guy de Maupassant. Original film
scripts are often reminiscent of the first story type, too: many
critics compared the episodies of Paisa with the Maupassant.
The short-story in the de Maupassant-Maugham manner encourages
distrust. We read the story, watch the scene established vividly -
provincial France, the British Empire - or what have you: we may
be taken with the man's economy and precision. We meet, as it
were, the people: the charming woman or the beastly man, say, and
if one is au fait with the idiom a question rises. This charming
woman, will she seem charming at the end of the story, this brute,
is he totally love? Unlikely, for this type of short story re-
quires a twist, either of situation, values, or character: com-
placency is overturned, heartlessness is circuitously vindicated,
affection brilliantly short circuits itself, and so on. The ob-
ligatory angle is the expression of a Digest-scepticism. The
short story is a vehicle for fragmentary insights, produced by the
dictates of literary form as much as by an attitude to life. The
attitude follows the form, not the other way about. I venture to
guess, without any statistical support whatsoever, that most read-
ers of the short story are not students of literary form. How-
ever they frequently accept the crisp and tiny worldliness of the
short story and assume it to be valid outside the formal limits
of the game.
Irving Howe (Sewance Review, Winter, 1949) observes that 'un-
like the novelist the short story writer can seldom enjoy a sense
72785269 - Eloquens
3Somerset Maugham has been popular with film makers and Noel Cow-
ard's one-act plays have also been used; America has reverently
taken O. Henry from the shelf which usually only appears in trail-
ers; Max Ophuls has adapted Guy de Maupassant. Original film
scripts are often reminiscent of the first story type, too; many
critics compared the episodies of Paiss with de Maupassant.
The short-story in the de Maupassant-Maugham manner encourages
distrust. We read the story, watch the scene established vividly -
provincial France, the British Empire - or what have you: we may
be taken with the man's economy and precision. We meet, as it
were, the people: the charming woman or the beastly man, say, and
if one is au fait with the idiom a question rises. This charming
woman, will she seem charming at the end of the story, this brute,
is he totally low? Unlikely, for this type of short story re-
quires a twist, either of situation, values, or character: com-
placency is overturned, heartlessness is circuitously vindicated,
affection brilliantly short circuits itself, and so on. The ob-
ligatory angle is the express of a Digest-scepticism. The
short story is a vehicle for fragmentary insights, produced by the
dictates of literary form as much as by an attitude to life. The
attitude follows the form, not the other way about. I venture to
guess, without any statistical support whatsoever, that most read-
ers of the short story are not students of literary form. How-
ever they frequently accept the crisp and tiny worldliness of the short story and assume it to be valid outside the formal limits
of the game.
Irving Hoe (Sewance Review, Winter, 1949) observes that 'unlike the novelist the short story writer can seldom enjoy a sense
73199052 - hoskinml
Somerset Maugham has been popular with film makers and Noel Cow-ard's one-act plays have also been used; America has reverently taken O. Henry from the shelf which usually only appears in trail-ers; Max Ophuls has adapted Guy de Maupassant. Original film scripts are often reminiscent of the first story type, too: many critics compared the episodies of Paise with de Maupassant.The short-story in the de Maupassant-Maugham manner encourages distrust. We read the story, watch the scene established vividly - provincial France, the British Empire - or what have you: we may be taken with the man's economy and precision. We meet, as it were, the people: the charming woman or the beastly man, say, and if one is au fait with the idiom a question rises. This charming woman, will she seem charming at the end of the story, this brute, is he totally low? Unlikely, for this type of short story re-quires a twist, either of situation, values, or character: complacency is overturned, heartlessness is circuitously vindicated, affection brilliantly short circuits itself, and so on. The ob-ligatory angle is the expression of a Digest-scepticism. The short story is a vehicle for fragmentary insights, produced by the dictates of literary form as much as by an attitude to life. The attitude follows the form, not the other way about. I venture to guess, without any statistical support whatsoever, that most read-ers of the short story are not students of literary form. However they frequently accept the crisp and tiny worldliness of the short story and assume it to be valid outside the formal limits of the game.
Irving Howe (Sewanee Review, Winter, 1949) observes that 'un-like the novelist the short story writer can seldom enjoy a sense
73247656 - wrightj2h
3Somerset Maugham has been popular with film makers and Noel Coward's one-act plays have also been used; America has reverently taken O. Henry from the shelf which usually only appears in trailers; Max Ophuls has adapted Guy de Maupassant. Original film scripts are often reminiscent of the first story type, too: many critics compared the episodes of Paisa with de Maupassant.
The short-story in the de Maupassant-Maugham manner encourages distrust. We read the story, watch the scene established vividly - provincial France, the British Empire - or what have you: we may be taken with the man's economy and precision. We meet, as it were, the people: the charming woman or the beastly man, say, and if one is au fait with the idiom a question rises. This charming woman, will she seem charming at the end of the story, this brute, is he totally low? Unlikely, for this type of short story requires a twist, either of situation, values, or character: complacency is overturned, heartlessness is circuitously vindicated, affection brilliantly short circuits itself, and so on. The obligatory angle is the expression of a Digest-scepticism. The short story is a vehicle for fragmentary insights, produced by the dictates of literary form as much as by an attitude to life. The attitude follows the form, not the other way around. I venture to guess, without any statistical support whatsoever, that most readers of the short story are not students of literary form. However they frequently accept the crisp and tiny worldliness of the short story and assume it to be valid outside the formal limits of the game.
Irving Howe (Sewance Review, Winter, 1949) observes that 'unlike the novelist the short story writer can seldom enjoy a sense