ue_ has a plot, but usually one which is absurdly
impossible, or which is treated in a burlesque style. The amusement is
derived chiefly from the contrast between the matter and the method of
its presentation. Most of Stockton's stories are of this type: notably
his "The Lady, or the Tiger?" Mark Twain, too, usually writes in this
vein, as in "The Jumping Frog" and "The Stolen White Elephant."

IX. THE DRAMATIC STORY is the highest type of the short story. It
requires a definite but simple plot, which enables the characters to act
out their parts. In its perfect form it is the "bit of real life" which
it is the aim of the short story to present. It is the story shorn of
all needless verbiage, and told as nearly as possible in the words and
actions of the characters themselves; and it possesses a strong climax.
Therefore it demands the most careful and skillful workmanship, from its
conception to its final polishing. It is the most modern type of the
short story.

(_a_) The short story has _Dramatic Form_ when the author's necessary
comments correspond to the stage directions of the drama. Such a story
is, in fact, a miniature drama, and is often capable of being acted just
as it stands. It has a definite plot, but it is developed by dialogue as
frequently as by action. It is the extreme of the modern tendency toward
dramatic narrative, and is just a little too "stagey" and artificial to
be a perfect short story. It is, however, in good literary standing and
in good favor with the public, and it is most excellent practice for the
tyro, for in it he has to sink himself completely in his characters.
Examples: Hope's "The Dolly Dialogues;" Kipling's "The Story of the
Gadsbys;" and Howells' one act parlor plays, like "The Parlor Car," "The
Register," "The Letter," and "Unexpected Guests."

(_b_) A short story has _Dramatic Effect_ when it deals with a single
crisis, conveys a single impression, is presented chiefly by the actors
themselves, and culminates in a single, perfect climax. It may, or may
not, be capable of easy dramatization. It is less artificial than the
story of pure _Dramatic Form_, but is just as free from padding and
irrelevant matter, and just as vivid in effect. It allows of greater art
and finish, for the writer has wider freedom in his method of
presentation. Examples: Poe's "'Thou Art the Man!'" and "Berenice;"
James' "The Lesson of the Master" and "A Passionate Pilgrim;" Wilkins'
"A New England Nun