But besides the forms due to the manner of presentation there are other forms due to the emphasis placed on one of the three elements of a narrative---action, character, and setting. Consequently using this principle of classification we have three forms which may be exemplified by Kipling's _William the Conqueror_, wherein action is emphasized; his _Tomb of His Ancestors_, wherein character is emphasized; and his _An Error in the Fourth Dimension_, wherein setting is emphasized. Using yet another principle of classification--material--we obtain: stories of dramatic interest, that is, of some striking happening that would hold the audience of a play in a highly excited state, as Stevenson's _Sire de Malétroit's Door_; of love, as Bunner's _Love in Old Cloathes_; of romantic adventure, as Kipling's _Man Who Would Be King_; of terror, as Poe's _Pit and the Pendulum_; of the supernatural, as Crawford's _The Upper Berth_; of humor, as humor, as Mary Raymond Shipman Andrews' _A Good Samaritan_; of animals, as Kipling's _Rikki-tikki-tavi_; of psychological analysis, as James' _Madonna of the Future_; and so on. III THE SHORT-STORY AS NARRATION All the previous discussion must not obscure the fact that the short-story is a form of narration and subject to all that pertains thereto. Now what is narration and what does it imply? Narration is that form of discourse which presents a series of events in the order of time. Events or action presuppose actors, or characters as they are generally called, and a place where the action may take place; likewise time and circumstances within which the actors act. These three, which may be conveniently spoken of as actors, action, and environment, are three of the elements of narration. But there is a fourth. To make an interesting story there must be something for the chief character, technically called the protagonist, to overcome, such as an adversary, a situation, or an idea, which thing is called the obstacle. Furthermore, there must be something in the story near the beginning which brings the protagonist into conflict with the obstacle. Often this conflict, technically the collision, is brought about by another character. But it may be some happening. Whatever it is, it is called the complicating force. Then again, toward the end of the story, there is something else which either helps the protagonist to overcome the obstacle, or the obstacle to overcome the protagonist. This is called the resolving force.