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Something of this can be learned from `` The Way To The Churchyard '' ( 1901 ), an anecdote about an old failure whose fit of anger at a passing cyclist causes him to die of a stroke or seizure.
There is no more `` plot '' than that ; ;
only slightly more, perhaps, than a newspaper account of such an incident would give.
The artistic interest, then, lies in what the encounter may be made to represent, in the power of some central significance to draw the details into relevance and meaningfulness.

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