So,  too,  in  reference  to  plot :  the  novelist  and,  in  less  de-
gree, the  writer  of  the  tale  have  free  hand  with  incident
and  episode  that  shall  ultimately  combine  in  the  general
unity  of  effect  disclosed  in  the  culmination.  But  the
short-story  can  seldom  embrace  more  than  a  single  main
action,  and  that  must  be  capable  of  ready  interpreta-
tion as  clearly  setting  forth  the  cardinal  idea.  The  story
of  Colonel  Newcome's  life  and  the  meteoric  career  of
Haman  possess  unity  indeed,  but  each  is  far  more  dif-
ferentiated in  detail,  more  consecutive  and  less  concen-
trated than  the  story  of  Mathilde  Loisel  or  of  John
Oakhurst.  Merimee's  Taking  of  the  Redoubt  is  a  note-
worthy instance  of  classic  simplicity  and  freedom  from
all  details  that  do  not  directly  contribute  to  the  main
narrative  end.  The  story  is  an  impressionistic  descrip-


270    RHETORICAL  PRINCIPLES  OF  NARRATION

tion  of  the  emotions  of  men  brought  face  to  face  with
death.  Not  only  does  Merimee  efface  himself  completely
from  his  narrative,  but  he  so  compresses  his  plot  by  the
elimination  of  every  non-contributive  detail  that  his
story  moves  undeviatingly  on  to  its  goal.
