It is now quite unusual to see any adequate criticism of short stories in English. I do not know how far the decline in short-story writing may not be due to that. Every sort of artist demands human responses, and few men can contrive to write merely for a publisher's cheque and silence, however reassuring that cheque may be. A mad millionaire who commissioned masterpieces to burn would find it impossible to buy them. Scarcely any artist will hesitate in the choice between money and attention; and it was primarily for that last and better sort of pay that the short stories of the 'nineties were written. People talked about them tremendously, compared them, and ranked them. That was the thing that mattered. It was not, of course, all good talk, and we suffered then, as now, from the _à priori_ critic. Just as nowadays he goes about declaring that the work of such-and-such a dramatist is all very amusing and delightful, but "it isn't a Play," so we' had a great deal of talk about _the_ short story, and found ourselves measured by all kinds of arbitrary standards. There was a tendency to treat the short story as though it was as definable a form as the sonnet, instead of being just exactly what any one of courage and imagination can get told in twenty minutes' reading or so. It was either Mr. Edward Garnett or Mr. George Moore in a violently anti-Kipling mood who invented the distinction between the short story and the anecdote. The short story was Maupassant; the anecdote was damnable. It was a quite infernal comment in its way, because it permitted no defence. Fools caught it up and used it freely. Nothing is so destructive in a field of artistic effort as a stock term of abuse. Anyone could say of any short story, "A mere anecdote," just as anyone can say "Incoherent!" of any novel or of any sonata that isn't studiously monotonous. The recession of enthusiasm for this compact, amusing form is closely associated in my mind with that discouraging imputation. One felt hopelessly open to a paralysing and unanswerable charge, and one's ease and happiness in the garden of one's fancies was more and more marred by the dread of it. It crept into one's mind, a distress as vague and inexpugnable as a sea fog on a spring morning, and presently one shivered and wanted to go indoors...It is the absurd fate of the imaginative writer that he should be thus sensitive to atmospheric conditions.