Chapter I: HAD called upon my friend, Mr. Sherlock Holmes, one day in the (6)

=The Piazza.= The chief business and pleasure center of Venice.

=The new Campanile.= A new tower that takes the place of the fallen
Campanile begun in the ninth century.

=Frari.= A great Venetian church built for the Franciscan Friars,
1250-1350.

=Titian.= 1477-1576. The most famous of all Venetian painters. One
of the greatest artists the world has known.

=Bellinis.= Pictures by Giovanni Bellini, 1427(?)-1516, a great
Venetian painter, and the instructor of Titian.

=Andiamo.= Let us go.

=Palazzo Giovanelli.= A Venetian palace containing a small but
beautiful collection of paintings.

=Giorgiones.= Pictures by Giorgione, 1477-1511, a pupil of Bellini,
much noted for color effects.

=Florian’s.= A famous Venetian café, some 200 years old.

=Speriamo.= We hope.

A FIGHT WITH DEATH
By IAN MACLAREN

Heroism is as great in daily life as in battle. We live beside
heroic figures perhaps not recognizing their greatness. Plain,
simple surroundings, daily scenes, everyday people, the accustomed
language of daily life, may all take on noble proportions.

_A Fight with Death_ is a local color story, for it gives the
dialect, the way of life, the character, of certain people in a
remote part of Scotland. It is a story of noble type, presenting a
character ideal—a country doctor fighting for the life of a humble
patient.

The world will always appreciate any story that finds the ideal in
the actual; it will appreciate it all the sooner if it is written,
as in this case, with plenty of action, vivid character drawing,
natural, everyday language, and touches of pathos and of humor, all
so combined that the story rises to climax, and wakens sympathy.

_A Fight with Death_ is the third of a series of five simple,
exquisitely pathetic stories of Scotch life, entitled _A Doctor of
the Old School_, printed in the collection of stories called _Beside
the Bonnie Brier Bush_, by Ian Maclaren,—the pseudonym of Rev. John
Watson. The author was born in Manningtree, Essex, in 1850. He
gained a large part of his education in Edinburgh University, and
has spent many years in intimate touch with Scotch life. In addition
to _Beside the Bonnie Brier Bush_ Dr. Watson has written a number of
books, the most notable being _Days of Auld Lang Syne_, _The Upper
Room_, and _The Mind of the Master_.

=Drumsheugh’s grieve.= Drumsheugh is tenant of a large farm. The
“grieve” is his farm manager.

=Greet.= Cry.

=A certain mighty power.= Death.

=Sough.= Breathe.

=Thraun.= Perverse.

=Shilpit.= Weak.

=Feckless.= Spiritless.

=Pushioned.= Poisoned.

=Kirny aitmeal.= Oatmeal with full kernels.

=Buirdly.= Strong.

=Fecht.= Fight.

=Haflin.= A stripling,—half-grown.

=Dour chiel.= Stubborn fellow.

=Caller.= Fresh.

=Oxters.= Armpits.

=Grampians.= Mountains in central Scotland.

=Byre.= Cow-barn.

=Thole.= Endure,—permit.

=Fraikin’.= Disgraceful action.

=Glen Urtach.= A valley in the highlands.

=Jess.= The doctor’s old horse.

=Goon and bans.= Gown and bands,—clerical robes.

THE DÀN-NAN-RÒN
By FIONA MACLEOD

Are there strange, mystical forces in the world that affect us in
spite of ourselves? Or do our own actions rebound upon us and make
life “heaven or hell” as the case may be? These questions that we
ask when we read _Macbeth_ come to us when we read Fiona Macleod’s
_Dàn-Nan-Ròn_.

_The Dàn-Nan-Ròn_ is not wholly a story of mysticism built on the
idea that the weird flute-“song o’ the seals” could so thrill one
who, perhaps, drew his ancestry from the seals, that he would go out
into the wild waters to live or die with his ancestral folk. The
story suggests all that. It hints at strange descent, magic
melodies, wraiths of the dead, and weird powers beyond man. This, no
doubt, combined with unusual setting, frequent use of the
little-understood Gaelic, weirdly musical verse, and romantic
action, gives the story an unusual atmosphere of gloom and shadow.
At heart, in plain fact, the story is psychological. A man on whose
soul hangs the memory of a crime, maddened by grief at the death of
a fervently loved wife, tormented in his evil hour by a deadly human
foe who subtly, with compelling music, plays upon his superstitions,
plunges, in the violence of his madness, into the sea. From that
point of view the man’s own soul scourged him to his death.

The whole combination of weird atmosphere, tragedy, grief,
conscience, and superstition, is brought together in an artistic
form that leads to a grimly startling catastrophe—the final mad
fight with the seals. This is no common story of sensational event.
It is a great human tragedy of grief and conscience, played to the
weird music of the north as if by a Gaelic minstrel endowed with
mystic powers.

There is something mystic indeed in Fiona Macleod. William Sharp,
1856-1905, the Scottish poet, editor, novelist, biographer, and
critic, lived a successful life as man of letters. He did more, for,
beginning in 1894, he used the name, “Fiona Macleod,” not as a
pseudonym but as that of the actual author of the most unusual,
brilliant, and altogether original series of poems and stories ever
written. Not until Mr. Sharp’s death was it found that Fiona Macleod
and William Sharp were one and the same person. The whole story is
apparently one of dual personality. All this adds to the strange
fascination of Fiona Macleod’s stories and poems.

=Eilanmore.= An island west of Scotland.

=The Outer Isles.= The Hebrides, or Western Isles, west of Scotland.

=The Lews and North Uist.= Islands of the Hebrides.

=Arran.= An island west of Ireland.

=Inner Hebrides.= Islands of the Hebrides group, not far from the
coast of Scotland.

=Runes.= Mystical songs.

=From the Obb of Harris to the Head of Mingulay.= From one end of
the Hebrides to the other.

=Orain spioradail.= Spiritual song.

=Barra.= A southern island of the Hebrides.

=Galloway.= The extreme southwestern coast of Scotland.

=The Minch.= The strait between the Hebrides and Scotland.

=Caisean-feusag.= Moustache.

=Mo cailinn.= My girl.

=Kye.= Cattle.

=Berneray of Uist.= A small island north of North Uist in the
Hebrides.

=The Sound of Harris.= The sound between North Uist and Harris in
the Hebrides.

=Anna-ban.= Fair Anna.

=Anne-à-ghraidh.= Anna, my dear.

=Gheasan.= A charm, magic spell.

=Geas.= Charm.

=Sinnsear.= Ancestors.

=Anna-nic-Gilleasbuig.= Anna, daughter of the line of Gilleasbuig.

=Ru’ Tormaid.= A place in the Hebrides.

=Corbies.= Ravens.

=Bàta-beag.= Small boat.

=Corrie.= A hollow in the side of a hill.

=Ann-mochree.= Ann, my tantalizer.

=The black stone of Icolmkill.= A famous stone at Icolmkill in the
Hebrides.

=Oisin the son of Fionn.= A character named in Gaelic legends.

=Skye.= A large island close to the western shore of Scotland.

=The Clyde.= The great estuary of the river Clyde, in the
southwestern part of Scotland, one of the most important shipping
centers of Great Britain.

=Byre.= A cow house.

=Loch Boisdale.= An inlet of South Uist in the Hebrides.

=Loch Maddy.= A small inlet in the Hebrides.

=Pictish Towre.= An ancient stone construction.

=Ban Breac.= The Spotted Hill.

=Maigstir.= Master.

=Skua.= A large sea bird something like a gull.

=Liath.= A small fish.

=Smooring.= The fireplace.

=Rosad.= A charm.

=Sgadan.= Herrings.

=Fey.= Doomed.

=Ceann-Cinnidh.= Head of the Clan.

------------------------------------------------------------------------

SUGGESTIVE QUESTIONS FOR CLASS USE

THE ADVENTURES OF SIMON AND SUSANNA

1. What is the advantage of having the two characters,—Uncle Remus
and the little boy?

2. What makes the introduction effective?

3. What advantages are gained by the little boy’s criticisms?

4. Show how the story maintains its interest.

5. What character distinctions are made in the story?

6. Show how the story is made harmonious in every detail.

7. Write a story in which you present an ignorant man of some
familiar type telling to a neighbor an exaggerated story founded
on a somewhat ordinary event.

THE CROW CHILD

1. Show that the language of _The Crow Child_ is superior to the
language of _The Adventures of Simon and Susanna_.

2. What distinctly literary effects does the author produce?

3. Make a list of the words by which the author prepares the reader
for Ruky’s transformation.

4. What is the purpose of the story?

5. Make an outline that will show the principal divisions of the
story.

6. Show that every division of the story is necessary.

7. Write an original story in which you transmute a real experience
into a wonder story with a moral effect.

THE SOUL OF THE GREAT BELL

1. How does the story show itself to be a legendary tale?

2. How is the simple story given movement and force?

3. Show how the interest is focussed on the bell rather than on the
girl.

4. How does the author make the various sounds of the bell effective
in the story?

5. Point out the poetic elements in the story.

6. Write, in poetic form, some legend of America, “The Indian Bride
of Niagara,” for example.

THE TEN TRAILS

1. Show in what way the story is highly condensed.

2. Expand any part of the story into the full form it might have if
not told in the form of a fable.

3. How might the story have been told differently if it had not
aimed at a moral?

4. When is it of advantage to write fables?

5. Write an original fable, no longer than _The Ten Trails_, about
high school students.

WHERE LOVE IS, THERE GOD IS ALSO

1. Make an outline that will show the structure of the story.

2. Why did the author have Avdeitch help more than one person?

3. Show how the use of realistic detail helps the story.

4. What characteristics make the story interesting?

5. Make a list of the epigrammatic expressions that occur in the
story. How do they add to the effect?

6. What is the principal lesson taught by the story?

7. Compare this story with Eliot’s _Silas Marner_, Leigh Hunt’s
_Abou Ben Adhem_, Lowell’s _The Vision of Sir Launfal_,
Longfellow’s _The Legend Beautiful_, and Henry Van Dyke’s _The
Other Wise Man_.

8. Write an allegorical story of some length, using realistic
characters from daily life, leading to an effective climax, and
presenting a high ideal of conduct.

WOOD LADIES

1. Point out the different steps in the action.

2. What different persons take up the search? What is the effect of
the constant additions to the number of searchers?

3. Why did the author have little children, five and seven years
old, play principal parts?

4. Trace the emotions of the mother from the beginning of the story.

5. How did the mother, at different times, explain the child’s
absence?

6. Why does the author narrate nothing that is impossible?

7. Point out passages that suggest the supernatural.

8. Tell the story of the little girl in the “greeny sort of dress.”

9. What is the effect of the setting? What gives occasional relief
from the setting and thereby emphasizes it all the more?

10. How does the style of the story add to the effect?

11. Show in what ways the story expresses delicate fancy.

12. What is the truth of the story?

13. Write an original story of supernatural beings, using suggestion
rather than statement, and avoiding harsh and horrifying events.

ON THE FEVER SHIP

1. Show the steps by which the author makes us realize the soldier’s
mental condition. His physical condition.

2. By what means does the author present the setting? The principal
plot elements?

3. What previous events are indicated but not told? Why are they
merely indicated?

4. Trace the steps by which we are led into full sympathy with the
love story.

5. What means does the author take to increase the interest of the
story as it nears the end?

6. Characterize the different subordinate characters introduced in
the story. Tell why every one is introduced.

7. Show that the ending of the story is entirely appropriate. How is
it made emphatic?

8. Write a story in which you show the moving effect of any deep
love, such as love for parents, brothers, sisters, or children;
or else write a somewhat restrained story of romantic love.

A SOURCE OF IRRITATION

1. What effect is given by the question: “Well, uncle, is there any
noos?” at the beginning and at the ending of the story?

2. Show how the character of old Sam Gates is essential in the
story.

3. Show how every part of the story is possible and probable.

4. Why did the aviator take Sam Gates with him?

5. Point out the characteristics of Sam’s captors.

6. Show that Sam’s character and actions are consistent.

7. Show that realism and local color give important contributions to
the story.

8. How is Sam unknowingly made an important person? What is the
value of this importance as a part of the story?

9. Why should Sam so quietly resume work on his return home?

10. Write a story in which some person of quiet, secluded life is
suddenly placed in an unusual setting and in unusual
circumstances.

MOTI GUJ—MUTINEER

1. Point out all that contributes to local color.

2. Point out all that shows ultimate knowledge of elephants.

3. Show how the author has made the work humorous.

4. Show that the story has a definite course of action that leads to
a climax.

5. Show in what ways the story is highly original.

6. Write an original story in which you use local color as a
background for a story of animal life. You may write about a
horse, or cat, or dog, but in any case you must make your story
have action and lead to climax.

GULLIVER THE GREAT

1. What advantage is gained by having the story told in the club?

2. How is the dog made the central figure?

3. What is the climax of the story?

4. Give the steps in the presentation of the dog’s character.

5. Tell how we are made to sympathize with the dog.

6. What suggestive effect is gained at the end of the story?

7. Write a story in which you awaken sympathy for some dumb animal
by suggesting that it has almost human emotions.

SONNY’S SCHOOLIN’

1. What is the advantage of the monologue form?

2. How is conversation indicated?

3. Point out the separate incidents that make up the story.

4. What advantage is gained by the use of dialect?

5. Point out elements of goodness in Sonny.

6. What is the character of the father? How is it presented?

7. Tell why Miss Phoebe Kellog’s school was superior to all the
others.

8. Show in what way the author has produced humorous effects.

9. Write an original story in which you tell what happened to Sonny
when he came to your school.

HER FIRST HORSE SHOW

1. Why does the author introduce us to his characters in the midst
of the horse show?

2. How does the author, in the beginning of the story, make the
situation entirely clear?

3. What speeches and actions in the early part of the story serve to
make the action in the latter part of the story seem natural?

4. How is the girl’s daring act emphasized?

5. In what ways does the author make it seem probable that the girl
could gain opportunity to ride the high-spirited horse at the
horse show?

6. Show in what ways the conclusion is particularly effective.

7. Write an original story concerning a school athletic meet or
contest in which one of the students, by unexpected skill and
courage, wins the day.

MY HUSBAND’S BOOK

1. What is the character of the husband (a) as seen by himself? (b)
as seen by the wife? (c) as seen by the reader?

2. What is the character of the wife?

3. What produces the humor of the story?

4. What is the advantage of having the wife so slow to see her
husband’s real weakness?

5. What is the effect of the last sentence?

6. At what is the satire directed?

7. Write an original story in which you satirize, in a kindly
manner, some common failing in high school boys or girls.

WAR

1. How are we made to sympathize with the young man?

2. What is the effect of the detailed description?

3. How is the emotion of the story presented?

4. How does the author make the story increase in emphasis?

5. Why is the incident of the apples introduced?

6. Why is “the man with the ginger beard” brought into the story?

7. What impression does the story leave upon the reader?

8. Write a story in which you arouse indignation at some great world
evil by making the reader realize its effect on one individual.

THE BATTLE OF THE MONSTERS

1. What is the purpose of the physician’s notes at the beginning and
at the ending of the story?

2. Show how the author has given story-interest to scientific
material.

3. Point out the characteristics of the different characters.

4. Trace the development of the story to its climax.

5. By what means does the author make his scientific material clear?

6. How does the author arouse our sympathy?

7. Point out the ways in which this story differs from most others.

8. Write an original story in which you turn some scientific
information into story form by making definite characters
perform a series of actions that lead to a climax. You may
choose something as simple as the pumping of water from a well,
the action of electricity in lighting a lamp, or the burning of
a piece of coal.

A DILEMMA

1. Point out all the ways in which the author prepares for the
puzzle at the end of the story.

2. Show in what way the author makes the story seem reasonable.

3. Show in what way character description adds to the interest of
the story.

4. How does the author emphasize the puzzle?

5. Write a sequel to the story, giving a solution for opening the
box, but leading to a new problem as difficult as the first.

THE RED-HEADED LEAGUE

1. How does the opening lead one to think the story has unusual
interest?

2. Show how the author manages to keep the mystery to the end.

3. Outline the parts of the story.

4. Point out touches of unusual originality.

5. What are the characteristics of Sherlock Holmes?

6. What is the author’s method in telling the story?

7. Show how the author uses conversation.

8. Write an original story involving mystery, leading, with
sufficient action, to a climax, and depending upon the use of
deductive reasoning.

ONE HUNDRED IN THE DARK

1. Point out the advantages derived from the setting.

2. How much of the story depends upon character?

3. What is your opinion of the literary theories presented?

4. How does this story differ from _A Dilemma_?

5. How many separate stories are contained in _One Hundred in the
Dark_?

6. Give the several possible solutions of the principal story.

7. What part did Peters play in the principal story?

8. Of what value are the hearers’ comments on the story?

9. How does the story differ from most other stories?

10. Write a story of school life, presenting a problem capable of
several solutions, but leaving the reader to make the final
solution.

A RETRIEVED REFORMATION

1. Show in what way the first few paragraphs give an unusual amount
of information in small space.

2. What is our first impression of Jimmy Valentine?

3. What are Jimmy Valentine’s good characteristics as seen in the
early part of the story?

4. What are the characteristics of Ben Price?

5. By what method does the author give the characteristics of the
minor characters?

6. How do you account for Jimmy Valentine’s reformation?

7. How did Ben Price find where Jimmy Valentine lived?

8. How does the author give the impression of a contest?

9. Why did Jimmy Valentine ask for Annabel’s rose?

10. What forces are brought into full play at the end of the story?

11. Why do we admire both Ben Price and Jimmy Valentine?

12. Write an original story in which you show the full establishment
of naturally good characteristics, and the development of a
spirit of sacrifice. Make your story rise to a surprising
conclusion.

BROTHER LEO

1. In what way is the style appropriate to the theme?

2. Show how the author has gained unity.

3. What makes the story seem true to life?

4. How does Brother Leo differ from other men?

5. What ideals does the story present?

6. Why did the author make the events of the story so simple?

7. Write a character study of some person who has unworldly
ideals,—an old lady, a sister of charity, a member of the
Salvation Army, a missionary, or a devoted scientist.

A FIGHT WITH DEATH

1. What advantage is gained by the use of dialect?

2. How is the story made to appeal to our sympathies?

3. How is the country doctor made heroic?

4. Point out all the ways in which the doctor’s character is
emphasized.

5. How much of the worth of the story is due to local color?

6. Point out examples of pathos; of humor. Why have both been used?

7. Write a story of heroism in ordinary life. Use the slang, or the
dialect of daily life as you have actually heard it, as a means
of increasing the effect. Be sure to make your story tell of
action as well as of character. Make it rise to a climax.

THE DÀN-NAN-RÒN

1. Why is personal appearance emphasized in the beginning of the
story?

2. Point out examples of poetic fancy.

3. Show how the author’s style of writing contributes to the effect
the story produces.

4. Show how great a part belief in the supernatural is made to play.

5. How much of the story depends upon character?

6. What is the effect of the verse?

7. What keeps the story from being merely sensational?

8. What part does madness play in the story?

9. What is the author’s purpose in using so much Gaelic?

10. Show in what ways the story is true to ordinary mental action.

11. How do you account for all the events that take place?

12. How does the author give the strong atmospheric effects?

13. In what ways is the story unusual?

14. What gives the story its great power?

15. How does the story affect you?

16. Write an original story in which you make conscience play a
great part, especially when spurred on by superstitious fears.

THE END

------------------------------------------------------------------------

● Transcriber’s Notes:
○ Missing or obscured punctuation was silently corrected.
○ Typographical errors were silently corrected.
○ Inconsistent spelling and hyphenation were made consistent only
when a predominant form was found in this book.
○ Text that was in italics is enclosed by underscores
(_italics_); text that was bold by “equal” signs (=bold=).