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On the other hand, many of these works are no more than treatises on “how to write stories” for the young writer rather than serious critical material.The prevalence in the 19th century of two words, “ is much older than the sketch.
Indeed, Hemingway was able at times to submit his apparently factual stories as newspaper copy.Although these tales have a religious frame that attempts to recast them as Buddhist ethical teachings, their actual concern is generally with secular behaviour and practical wisdom.Another, nearly contemporaneous collection of Indian tales, the , the most compact and least fantastic in the Apocrypha, develops a three-sided conflict involving the innocent beauty of Susanna, the lechery of the elders, and the triumphant wisdom of Daniel. Some of those ancient stories preached by presenting an ideal for readers to imitate. Most stories, however, preached by illustrating the success and joy that was available to the “good” individual and by conveying a sense of the terror and misery that was in store for the wayward.Basically, the tale is a manifestation of a culture’s unaging desire to name and conceptualize its place in the cosmos.It provides a culture’s narrative framework for such things as its vision of itself and its homeland or for expressing its conception of its ancestors and its gods.In the 19th century certain writers—those one might call the “fathers” of the modern story: and stultifying conventionality of the tale and, at the same time, to liberate the sketch from its bondage to strict factuality.
The modern short story, then, ranges between the highly imaginative tale and the photographic sketch and in some ways draws on both.Faulkner may seem, at times, to be a Southerner speaking to and for Southerners.But, as, by virtue of their imaginative and symbolic qualities, Hemingway’s narratives are more than journalistic sketches, so, by virtue of their explorative and analytic qualities, Faulkner’s narratives are more than Southern tales. The ancient Egyptians seem to have written their narratives largely in prose, apparently reserving verse for their religious hymns and working songs.As the variety of these short narratives suggests, the Greeks were less insistent than earlier cultures that short fiction be predominantly didactic.By comparison the contribution of the The Middle Ages in Europe was a time of the proliferation, though not necessarily the refinement, of short narratives.The sketch writer can have, or pretend to have, his eye on his subject.