Obviously the character-events story is different from the character-place story just in the emphasis and because of it. The personality of the chief actor of a story of events, does not necessarily spring from the scene of action. In fact, the personality very often is in strong contrast with the place. A soldier for instance by some chance may be left stranded on an oasis in the desert; the purpose of the writer in having him there may be to set forth a number of strange occurrences that bring out his character, or the author may wish to demonstrate some truth about wild animals. A woman may be on a Pullman car bringing her dying husband home with her from Denver to New York. The author will then be concerned with an analysis of the woman's mind as events come to her. A person may be standing at the prisoner's dock and may tell his life. Place will concern the author a great deal in a certain sense, but it will be not the character-making place, but the event-making place,--the battle-ground, the cricket field. If a different character met the same events in the same place, he might act otherwise. It is the conjunction of character and events that the author is revealing and the reader watching. Let us name over a few of the great stories and collections of this kind to see if the titles suggest anything: "The Necklace" by Maupassant; "The Father" by Björnson; "The Siege of Berlin" by Daudet; "The Substitute" by Coppée; "The Insurgent" by Halévy; "Mateo Falcone" by Mérimeé; "The Shot" by Pushkin; "The Greater Inclination," "Crucial Instances," "The Descent of Man, and Other Stories," by Mrs. Wharton. [Component elements of this type]