This is a modern-English version of Studying the short-story: Sixteen short-story classics with introductions, notes and a new laboratory study method for individual reading and use in colleges and schools., originally written by unknown author(s).
It has been thoroughly updated, including changes to sentence structure, words, spelling,
and grammar—to ensure clarity for contemporary readers, while preserving the original spirit and nuance. If
you click on a paragraph, you will see the original text that we modified, and you can toggle between the two versions.
Scroll to the bottom of this page and you will find a free ePUB download link for this book.

TRANSCRIBER’S NOTES:
TRANSCRIBER’S NOTES:
In the plain text version text in italics is enclosed by underscores (_italics_), and small capitals are represented in upper case as in SMALL CAPS.
In the plain text version, text in italics is enclosed by underscores (_italics_), and small capitals are represented in uppercase as in SMALL CAPS.
The book cover was modified by the transcriber and has been added to the public domain.
The book cover was updated by the transcriber and is now in the public domain.
A number of words in this book have both hyphenated and non-hyphenated variants. For the words with both variants present the one more used has been kept.
A number of words in this book have both hyphenated and non-hyphenated versions. For the words that have both versions, the more commonly used one has been kept.
Obvious punctuation and other printing errors have been corrected.
Obvious punctuation and other printing errors have been fixed.
Studying the Short-Story
SIXTEEN SHORT-STORY CLASSICS
WITH INTRODUCTIONS, NOTES AND
A NEW LABORATORY STUDY METHOD
FOR INDIVIDUAL READING AND
USE IN COLLEGES AND SCHOOLS
SIXTEEN SHORT-STORY CLASSICS
WITH INTRODUCTIONS, NOTES AND
A NEW LAB STUDY METHOD
FOR SOLO READING AND
USE IN COLLEGES AND SCHOOLS
BY
BY
J. BERG ESENWEIN, A.M., Lit.D.
J. Berg Esenwein, A.M., Lit.D.
EDITOR OF THE WRITER’S MONTHLY
Editor of Writer’s Monthly
REVISED EDITION
Updated Edition
THE WRITER’S LIBRARY
EDITED BY J. BERG ESENWEIN
THE WRITER’S LIBRARY
EDITED BY J. BERG ESENWEIN
HINDS, HAYDEN & ELDREDGE, Inc.
NEW YORK PHILADELPHIA CHICAGO
HINDS, HAYDEN & ELDREDGE, Inc.
NEW YORK PHILADELPHIA CHICAGO
Copyright 1912
By J. Berg Esenwein
Copyright 1912
By J. Berg Esenwein
Copyright 1918
By J. Berg Esenwein
Copyright 1918
By J. Berg Esenwein
TO
MOTHER
TO
MOM
TABLE OF CONTENTS
Table of Contents
PAGE | ||
TO TEACHERS AND STUDENTS | vii | |
PUBLISHERS’ NOTE | xi | |
AN INTRODUCTION TO THE STUDY OF THE SHORT-STORY | xiii | |
I. | STORIES OF ACTION AND ADVENTURE | 1 |
Mérimée and His Works | 4 | |
“Mateo Falcone,” Prosper Mérimée | 8 | |
Stevenson and His Works | 29 | |
“A Lodging for the Night,” Robert Louis Stevenson | 34 | |
Study Questions to Consider | 67 | |
Ten Notable Stories of Action and Adventure | 68 | |
II. | STORIES OF MYSTERY AND FANTASY | 69 |
Poe and His Works | 72 | |
“The Purloined Letter,” Edgar Allan Poe | 76 | |
Jacobs and His Works | 108 | |
“The Monkey’s Paw,” W. W. Jacobs | 111 | |
Question Ideas for Study | 129 | |
Ten Notable Stories of Mystery and Fantasy | 130 | |
III. | STORIES OF EMOTION | 131 |
Daudet and His Works | 135 | |
“The Last Class,” Alphonse Daudet | 139 | |
Kipling and His Works | 147 | |
“Without Benefit of Clergy,” Rudyard Kipling | 151 | |
Study Questions to Consider | 189 | |
Ten Representative Stories of Emotion or Sentiment | 190 | |
IV. | HUMOROUS STORIES | 191 |
Henry and His Writings | 194 | |
“The Ransom of Red Chief,” O. Henry | 198 | |
Barrie and His Works | 215 | |
“The Courting of T’Nowhead’s Bell,” James M. Barrie | 219 | |
Study Questions | 249 | |
Ten Funny Stories | 250 | |
V. | STORIES OF SETTING | 251 |
Harte and His Works | 255 | |
“The Outcasts of Poker Flat,” Bret Harte | 259 | |
Maupassant and His Works | 277 | |
“Moonlight,” Guy de Maupassant | 281 | |
Study Guide Questions | 290 | |
Ten Typical Setting Stories | 290 | |
VI. | IMPRESSIONISTIC STORIES | 291 |
Hawthorne and His Works | 297 | |
“The White Old Maid,” Nathaniel Hawthorne | 302 | |
“The Fall of the House of Usher,” Edgar Allan Poe | 320 | |
Study Questions | 351 | |
Ten Impressionist Stories to Read | 352 | |
VII. | CHARACTER STUDIES | 353 |
“The Piece of String,” Guy de Maupassant | 356 | |
Coppée and His Works | 368 | |
“The Substitute,” François Coppée | 371 | |
Study Questions to Consider | 388 | |
Ten Character Profiles | 389 | |
VIII. | PSYCHOLOGICAL STUDIES | 390 |
“Markheim,” Robert Louis Stevenson | 394 | |
Morrison and His Works | 422 | |
“On the Stairs,” Arthur Morrison | 425 | |
Thought-Provoking Questions for Study | 431 | |
Ten Key Psychological Studies | 432 | |
BIBLIOGRAPHICAL NOTE | 433 | |
INDEX | 437 |
[Pg vii]
[Pg vii]
TO TEACHERS AND STUDENTS
Growing out of my former volume, Writing the Short-Story, appeared the use for a new book that should contain a large number of short-stories arranged and annotated in form suitable for school or private study. Accordingly, the unique marginal arrangement for notes, which was first used in the study of Maupassant’s “The Necklace,” in the earlier work, was also adopted in this, with the addition of exhaustive critical introductions and comments. Further study, whether by classes or by individuals, has been facilitated by the reading references upon the authors represented, and—arranged under each of the eight type-groups—the explicit lists of ten representative short-stories available for reading and analysis.
Emerging from my earlier book, Writing the Short-Story, there was a need for a new book that would include a wide range of short stories organized and annotated in a format suitable for school or personal study. Therefore, the unique layout for notes in the margins, which was first utilized in the study of Maupassant’s “The Necklace” in my previous work, has been carried over to this one. This edition also includes comprehensive critical introductions and comments. Further study, whether in groups or individually, is supported by the reading references for the authors included, along with explicit lists of ten representative short stories arranged under each of the eight type groups, available for reading and analysis.
Five points were had in mind as a basis for the selection of the stories included in this collection: First, the real merit of the story, as illustrating the short-story structurally perfect, or as nearly perfect as could be found in combination with the other points desired; second, the typical qualities of the story, as standing for the class it was to represent; third, its intrinsic literary interest for the general reader; fourth, its representative quality as illustrating the author’s tone and style; fifth, its suitability for class and private study and analysis.
Five key points were considered as the basis for selecting the stories included in this collection: First, the actual merit of the story, whether it exemplifies a structurally perfect short story or is as close to perfect as possible in combination with the other desired qualities; second, the typical characteristics of the story, representing the class it is meant to reflect; third, its inherent literary interest for the general reader; fourth, its representative nature in showcasing the author’s tone and style; fifth, its appropriateness for classroom and personal study and analysis.
[Pg viii]
[Pg viii]
Other stories are equally brilliant and equally representative, but some are too long to fit into such a selection; others are not available because of publishers’ rules; still others are morally unsuitable for the uses of mixed classes of young people; while many capital stories are the work of authors who have not produced consistently good work.
Other stories are just as brilliant and just as representative, but some are too long to include in this selection; others aren't available due to publishers' rules; some are not appropriate for mixed groups of young people; and many great stories come from authors who haven't consistently produced high-quality work.
The tone of many of the stories included is sad, and their endings tragic; this is accidental and has not at all governed the selection from my belief that stories of tragic quality are necessarily the greatest; though the tragic phases of life, being the most intense, are the most likely to offer attractive themes to authors who prefer to deal with strong and subtle situations. The same is true of stories dealing with sex problems, but these have been excluded for obvious reasons. Livelier and more cheerful stories either were not as representative of the types I desired to exhibit, or were rejected from other motives. Those who study these selections with a view to writing the short-story will do well to bear in mind that fiction of gloomy tone must be very well written and on themes of unusual power to atone for their depressing qualities.
The tone of many of the included stories is sad, and their endings are tragic; this is unintentional and hasn’t influenced my selection based on the belief that tragic stories are necessarily the best. However, the tragic aspects of life, being the most intense, are more likely to provide appealing themes for authors who prefer to explore strong and complex situations. The same applies to stories about sexual issues, but these have been left out for obvious reasons. More upbeat and cheerful stories either didn’t represent the types I wanted to showcase, or were excluded for other reasons. Those studying these selections with the intention of writing short stories should keep in mind that fiction with a gloomy tone must be exceptionally well written and focus on powerful themes to compensate for their depressing nature.
For the use of teachers and their pupils, a series of general questions has been prepared (p. xxxi), besides questions at the end of each section. Of course these will be regarded as suggestive rather than exhaustive.
For teachers and their students, a set of general questions has been created (p. xxxi), along with questions at the end of each section. These will be seen as suggestive rather than comprehensive.
The margins left blank in the stories marked “For Analysis” may be used for pencil notes, at the option of the teacher. For further study, strips of writing paper may be attached to the margins of stories cut from the[Pg ix] magazines and full notes added by the pupil. Writing the Short-Story will be found an especially practical adjunct in making the marginal analyses and notes, as that work gives much space to the general structure of the short-story and an analysis of its parts. The nomenclature of Writing the Short-Story has been observed in this volume, as well as the typographical arrangement, where practicable—especially the practise of indicating short-stories by quotation marks, while printing book-titles in italics.
The blank margins in the stories labeled “For Analysis” can be used for pencil notes, at the teacher's discretion. For additional study, strips of writing paper can be attached to the margins of stories cut from the [Pg ix] magazines, with full notes added by the student. Writing the Short-Story will be particularly helpful for making marginal analyses and notes, as it provides a lot of information on the general structure of short stories and an analysis of their components. The terminology from Writing the Short-Story is followed in this volume, as well as the typographical layout when possible—especially the practice of using quotation marks for short stories and italics for book titles.
I venture to hope that the present work may prove helpful in disclosing to lovers of the short-story, as well as to those who wish merely to study its technique, the means by which authors of international distinction have secured their effects.
I hope that this work will be useful in revealing to fans of short stories, as well as to those looking to study its techniques, the methods that internationally recognized authors have used to achieve their impact.
J. Berg Esenwein
J. Berg Esenwein
Philadelphia, June 8, 1912.
Philadelphia, June 8, 1912.
NOTE TO REVISED EDITION
NOTE TO UPDATED EDITION
The only changes made in the original text are such typographical corrections as were needed and a considerable addition to the bibliography.
The only changes made in the original text are typographical corrections that were necessary and a significant addition to the bibliography.
J. B. E.
J.B.E.
Springfield, Mass., May 1, 1918.
Springfield, MA, May 1, 1918.
[Pg x]
[Pg x]
[Pg xi]
[Pg xi]
PUBLISHERS’ NOTE
The wide usefulness of Writing the Short-Story, by the author of this volume, as evidenced by its adoption for class use in the foremost American universities, colleges, and schools, and by the many thousands of well-known writers and younger aspirants who have found it so helpful in their craft, has encouraged the author to undertake the present work. Mere collections of short-stories are not lacking, but no other volume presents an authoritative international selection, with comprehensive classifications under leading short-story types, critical and biographical introductions, illuminating marginal notes, and opportunities for original study afforded by margins for the student’s notes, together with questions and lists of stories for examination and study. Whether used singly or as a companion volume with Writing the Short-Story, it is confidently believed that the present work will prove a notable contribution to the literature of this most popular and significant literary form.
The broad usefulness of Writing the Short-Story, by the author of this book, as shown by its use in top American universities, colleges, and schools, and by the many thousands of established writers and aspiring authors who have found it helpful in their craft, has inspired the author to create this new work. While there are plenty of collections of short stories, no other book offers a reliable international selection, with thorough classifications under major short story types, critical and biographical introductions, insightful notes in the margins, and spaces for students to take their own notes, along with questions and story lists for further study. Whether used alone or as a companion to Writing the Short-Story, it is confidently believed that this new work will be a valuable addition to the literature of this popular and important literary form.
The Publishers
The Publishers
[Pg xiii]
[Pg xiii]
AN INTRODUCTION TO THE STUDY OF THE SHORT-STORY
Fiction as an art has made more progress during the last hundred years than any other literary type. The first half of the nineteenth century especially developed a consciousness of subject matter and form in both the novel and the short-story which has created an epoch as notable in the history of fiction as was the age of Shakespeare in the progress of the drama. In Great Britain, France, Russia, Germany, and America arose fictional artists of distinguished ability, while in other nations writers of scarcely less merit soon followed.
Fiction as an art form has advanced more in the last hundred years than any other type of literature. The first half of the nineteenth century, in particular, fostered an awareness of both subject matter and structure in novels and short stories, marking a period in the history of fiction that is as significant as Shakespeare's era was for drama. In Great Britain, France, Russia, Germany, and America, talented fictional writers emerged, and soon, other countries produced authors of nearly equal skill.
The novel demands a special study, so even for its relation to our theme—the short-story—the reader must be referred to such works as specialize on the longer form.[1]
The novel requires a specific kind of analysis, so even regarding its connection to our topic—the short story—readers should look at works that focus on the longer format.[1]
A comprehensive treatment of the short-story would include an inquiry into the origins of all short fictional forms, for every story that is short is popularly known [Pg xiv]as a short story. The fullest and best guide for such a study is Henry Seidel Canby’s historical and critical treatise, The Short Story in English.
A complete study of the short story would involve looking into the origins of all short fictional forms, since every brief narrative is commonly referred to as a short story. The most thorough and helpful resource for this kind of research is Henry Seidel Canby’s historical and critical work, The Short Story in English.
Naturally, an inquiry into origins would prove to be measurably profitless and certainly dry for the general student were it not supplemented by the reading of a great many stories—preferably in the original—which illustrate the steps in short-story development from earliest times.[2]
Naturally, looking into origins would be pretty uninteresting and definitely dull for the average student if it weren’t for diving into a lot of stories—ideally in their original form—that showcase the evolution of short stories from the earliest times.[2]
A further field for a comprehensive survey would be a critical comparison of the modern form with its several ancestral and contributory forms, from original sources.
A further area for a thorough investigation would be a critical comparison of the modern version with its various ancestral and contributing forms, based on original sources.
A third examen would be devoted to the characteristics and tendencies of the present-day short-story as presented in volume form and, particularly, in the modern magazine.
A third exam would focus on the characteristics and trends of today’s short stories as seen in book form and especially in modern magazines.
A fourth, would undertake to study the rhetoric of the form.[3]
A fourth would commit to examining the rhetoric of the form.[3]
None of these sorts of study can be exhaustively presented in this volume, yet all are touched upon so suggestively and with such full references that the reader may himself pursue the themes with what fullness he elects. The special field herein covered will be, I believe, sufficiently apparent as the reader proceeds.
None of these types of studies can be fully covered in this book, but all are mentioned in a way that invites the reader to explore the topics as deeply as they choose. The specific subject area addressed here should become clear as the reader continues.
[Pg xv]
[Pg xv]
Let it be understood from the outstart that throughout this volume the term short-story is used rather loosely to cover a wide variety of short fiction; yet presently it will be necessary to show precisely how the modern form differs from its fictive ancestors, and that distinction will assume some importance to those who care about recognizing the several short fictional forms and who enjoy calling things by their exact names.
Let it be clear from the beginning that throughout this book, the term short story is used somewhat loosely to cover a wide range of short fiction. However, it will soon be necessary to clarify exactly how the modern form differs from its fictional predecessors, and this distinction will be important for those who want to recognize the various kinds of short fiction and appreciate accurately naming things.
The first story-teller was that primitive man who in his wanderings afield met some strange adventure and returned to his fellows to narrate it. His narration was a true story. The first fictionist—perhaps it was the same hairy savage—was he who, having chosen to tell his adventure, also resolved to add to it some details wrought of his own fancy. That was fiction, because while the story was compounded of truth it was worked out by the aid of imagination, and so was close kin to the story born entirely of fancy which merely uses true-seeming things, or veritable contributory facts, to make the story “real.”
The first storyteller was that early human who, during his travels, encountered some unusual adventure and returned to share it with his community. His account was a true story. The first fiction writer—maybe it was the same rugged man—was the one who, after telling his adventure, decided to embellish it with details from his own imagination. That was fiction because, although the story was based on reality, it was shaped by creativity, making it closely related to stories created entirely from imagination that just use believable elements or real facts to make the narrative feel “authentic.”
Egyptian tales, recorded on papyrus sheets, date back six thousand years. Adventure was their theme, while gods and heroes, beasts and wonders, furnished their incidents. When love was introduced, obscenities often followed, so that the ancient tales of pure adventure are best suited to present-day reading.
Egyptian stories, written on papyrus sheets, go back six thousand years. Adventure was their main theme, with gods and heroes, beasts and wonders providing the events. When love was included, scandalous elements often followed, making the ancient tales of pure adventure more appropriate for today’s readers.
What is true of Egypt 4000 B. C. is equally true of Greece many centuries later. The Homeric stories[Pg xvi] will serve as specimens of adventure narrative; and the Milesian tales furnish the erotic type.
What was true of Egypt in 4000 B.C. is just as true of Greece many centuries later. The Homeric stories[Pg xvi] serve as examples of adventure narratives, while the Milesian tales provide the erotic type.
As for the literary art of these early fictions, we need only refer to ancient poetry to see how perfect was its development two thousand and more years ago; therefore—for the poets were story-tellers—we need not marvel at the majestic diction, poetic ideas, and dramatic simplicity of such short-stories as the Egyptian “Tales of the Magicians,”[4] fully six thousand years old; the Homeric legends, told possibly twenty-five hundred years ago;[5] “The Book of Esther,”[6] written more than twenty-one hundred years ago; and the stories by Lucius Apuleius, in The Golden Ass,[7] quite two thousand years old.
As for the literary skills in these early stories, we just need to look at ancient poetry to see how advanced it was over two thousand years ago. Poets were also storytellers, so we shouldn’t be surprised by the impressive language, poetic concepts, and dramatic simplicity found in short stories like the Egyptian “Tales of the Magicians,”[4] which are over six thousand years old; the Homeric legends, told around twenty-five hundred years ago;[5] “The Book of Esther,”[6] written more than twenty-one hundred years ago; and the tales by Lucius Apuleius in The Golden Ass,[7] which are nearly two thousand years old.
In form these ancient stories were of three types: the anecdote (often expanded beyond the normal limits of anecdote); the scenario, or outline of what might well have been told as a longer story; and the tale, or straightforward chain of incidents with no real complicating plot.
In their structure, these ancient stories fell into three categories: the anecdote (often stretched beyond the usual boundaries of an anecdote); the scenario, or an outline of what could have been expanded into a longer story; and the tale, or a simple sequence of events without any complex plot.
Story-telling maintained much the same pace until the early middle ages, when the sway of religious ideas was felt in every department of life. Superstition had always vested the forces of nature with more than natural attributes, so that the wonder tale was normally the companion of the war or adventure story. But now the power of the Christian religion was laying hold upon all minds, and the French conte dévot, or miracle story, recited[Pg xvii] the wonderful doings of the saints in human behalf, or told how some pious mystic had encountered heavenly forces, triumphed over demons and monsters of evil, and performed prodigies of piety.
Storytelling followed a similar rhythm until the early Middle Ages, when the influence of religious beliefs permeated every aspect of life. Superstition had always attributed supernatural qualities to the forces of nature, so wonder tales typically accompanied war or adventure stories. However, now the power of Christianity was capturing everyone's attention, and the French conte dévot, or miracle story, shared the remarkable deeds of the saints on behalf of humanity, or recounted how some devout mystic had faced heavenly forces, conquered demons and evil monsters, and performed extraordinary acts of faith.
These tales were loosely hung together, and exhibited none of the compression and sense of orderly climax characteristic of the short-story to-day. In style the early medieval stories fell far below classic models, naturally enough, for language was feeling the corrupting influences of that inrush of barbarian peoples which at length brought Rome to the dust, while culture was conserved only in out-of-the-way places. In form these narratives were chiefly the tale, the anecdote, and the episode, by which I mean a fragmentary part of a longer tale with which it had little or no organic connection.
These stories were loosely connected and didn't have the tight structure or sense of buildup that modern short stories typically have. In terms of style, the early medieval stories were far below classic standards, which is understandable since language was being influenced by the influx of barbarian tribes that ultimately brought Rome down, while culture was mostly preserved in remote areas. These narratives were mainly composed of tales, anecdotes, and episodes, which I mean as a fragment of a longer story that had little or no meaningful connection to it.
The conte dévot in England was even more crude, for Old English was less polished than the speech of France and its people more heroic than literary.
The conte dévot in England was even more rough around the edges, since Old English was less refined than the language of France, and its people were more focused on heroism than on literature.
When we come to the middle of the fourteenth century we find in two great writers a marked advancement: Chaucer’s Canterbury Tales and Boccaccio’s Decameron—the former superior to the latter in story-telling art—opened up rich mines of legend, adventure, humor, and human interest. All subsequent narrators modeled their tales after these patterns. Chaucer’s “The Pardoner’s Tale” has many points in common with the modern short-story, and so has Boccaccio’s novella, “Rinaldo,” but these approaches to what we now recognize as the short-story type were not so much by conscious intention as by a groping after an ideal which was only dimly[Pg xviii] existent in their minds—so dimly, indeed, that even when once attained it seems not to have been pursued. For the most part the fabliaux[8] of Chaucer and the novelle[9] of Boccaccio were rambling, loosely knit, anecdotal, lacking in the firmly fleshed contours of the modern short-story. Even the Gesta Romanorum, or Deeds of the Romans—181 short legends and stories first printed about 1473—show the same ear marks.
When we get to the middle of the fourteenth century, we see significant progress in two major writers: Chaucer’s Canterbury Tales and Boccaccio’s Decameron. The former excels over the latter in storytelling and opened up rich sources of legend, adventure, humor, and human interest. All later storytellers shaped their tales after these examples. Chaucer’s “The Pardoner’s Tale” has many similarities to the modern short story, and so does Boccaccio’s novella, “Rinaldo.” However, their approaches to what we now identify as the short story weren’t so much deliberate choices as they were a search for an ideal that was only vaguely formed in their minds—so vaguely, in fact, that even when they achieved it, it seems they didn’t continue to pursue it. For the most part, the fabliaux[8] of Chaucer and the novelle[9] of Boccaccio were meandering, loosely structured, anecdotal, and lacked the solid shape of the modern short story. Even the Gesta Romanorum, or Deeds of the Romans—181 short legends and stories first printed around 1473—show the same characteristics.
About the middle of the sixteenth century appeared The Arabian Nights, that magic carpet which has carried us all to the regions of breathless delight. The story of “Ali Baba and The Forty Thieves,” for one, is as near an approach to our present-day short-story as was Irving’s “Rip Van Winkle,” and quite unsurpassed in all the literature of wonder-tales.
About the middle of the sixteenth century, The Arabian Nights emerged, that magic carpet which has taken us all to places of incredible joy. The story of “Ali Baba and The Forty Thieves,” for instance, is as close to our modern short story as Irving’s “Rip Van Winkle” and is unmatched in all the literature of fantastical tales.
Thus for two thousand years—yes, for six thousand years—the essentials of short story narration were unchanged. What progress had been made was toward truth-seeming, clearer characterization, and a finer human interest, yet so surpassing in these very respects are some of the ancient stories that they remain models to-day. Chiefly, then, the short fiction of the eighteenth century showed progress over that of earlier centuries in that it was much more consistently produced by a [Pg xix]much greater number of writers—so far as our records show.
So, for two thousand years—actually, for six thousand years—the basics of short story telling stayed the same. The progress that was made was in creating more believable characters and deeper human connections, yet some of the ancient stories are still so exceptional in these areas that they remain models today. In particular, the short fiction of the eighteenth century showed advancement over that of earlier times because it was produced much more consistently by a [Pg xix]much larger number of writers—at least according to our records.
Separately interesting studies of the eighteenth-century essay-stories of Addison, Steele, Johnson and others in the English periodicals, the Spectator, Tatler, Rambler, Idler, and Guardian might well be made, for these forms lead us directly to Hawthorne and Irving in America. Of almost equal value would be a study of Defoe’s ghost stories (1727) and Voltaire’s development of the protean French detective-story, in his “Zadig,” twenty years later.
Interesting studies of the 18th-century essay-stories by Addison, Steele, Johnson, and others in English periodicals like the Spectator, Tatler, Rambler, Idler, and Guardian could be quite valuable, as these works connect directly to Hawthorne and Irving in America. A study of Defoe’s ghost stories (1727) and Voltaire’s evolution of the flexible French detective story in his “Zadig,” written twenty years later, would also be of nearly equal significance.
With the opening of the nineteenth century the marks of progress are more decided. The first thirty years brought out a score of the most brilliant story-tellers imaginable, who differ from Poe and his followers only in this particular—they were still perfecting the tale, the sketch, the expanded anecdote, the episode, and the scenario, for they had neither for themselves nor for their literary posterity set up a new standard, as Poe was to do so very soon.
With the start of the nineteenth century, the signs of progress became more apparent. The first thirty years showcased a number of the most brilliant storytellers imaginable, who differed from Poe and his followers in one key way—they were still refining the tale, the sketch, the expanded anecdote, the episode, and the scenario, as they had not established a new standard for themselves or for their future literary successors, as Poe would do very soon.
Of this fecund era were born the German weird tales of Ernst Amadeus Hoffmann and J. L. Tieck; the Moral Tales of Maria Edgeworth, and the fictional episodes of Sir Walter Scott in Scotland; the anecdotal tales and the novelettes of Prosper Mérimée and Charles Nodier in France; the tales of Pushkin, the father of Russian literature; and the tale-short-stories of Washington Irving and Nathaniel Hawthorne in America. Here too lies a fascinating field of study, over which to trace the approach towards that final form, so to call it, which[Pg xx] was both demonstrated and expounded by Poe. It must suffice here to observe that Irving preferred the easy-flowing essay-sketch, and the delightful, leisurely tale (with certain well-marked tendencies toward a compact plot), rather than the closely organized plot which we nowadays recognize as the special possession of the short-story.
During this rich era, we saw the emergence of German weird tales by Ernst Amadeus Hoffmann and J. L. Tieck; the Moral Tales by Maria Edgeworth; and the fictional episodes of Sir Walter Scott in Scotland. Also notable were the anecdotal stories and novellas of Prosper Mérimée and Charles Nodier in France; the tales from Pushkin, the father of Russian literature; and the short stories of Washington Irving and Nathaniel Hawthorne in America. This period presents an intriguing area of study, allowing us to trace the evolution toward that final form, so to speak, which was both illustrated and explained by Poe. It’s worth noting that Irving favored the fluid essay-sketch and the charming, leisurely story (with certain distinct inclinations toward a tighter plot), instead of the tightly organized plot that we now recognize as characteristic of the short story.
In France, from 1830 to 1832, Honoré de Balzac produced a series of notable short-stories which, while marvels of narration, tend to be condensed novels in plot, novelettes in length, or expanded anecdotes. However, together with the stories of Prosper Mérimée, they furnish evidence for a tolerably strong claim that the modern short-story was developed as a fixed form in France before it was discovered in America—a claim, however, which lacks the elements of entire solidity, as a more critical study would show.
In France, from 1830 to 1832, Honoré de Balzac wrote a series of significant short stories that, while impressive in their storytelling, often resemble condensed novels in plot, novelettes in length, or expanded anecdotes. However, along with Prosper Mérimée's stories, they provide fairly strong evidence that the modern short story was established as a distinct form in France before it was recognized in America—a claim that, however, is not entirely solid, as a more critical analysis would reveal.
From 1830 on, it would require a catalogue to name, and volumes to discuss, the array of European and American writers who have produced fictional narratives which have more or less closely approached the short-story form. Until 1835, when Edgar Allan Poe wrote “Berenice” and “The Assignation,” the approaches to the present form were sporadic and unsustained and even unconscious, so far as we may argue from the absence of any critical standard. After that year both Poe and others seemed to strive more definitely for the close plot, the repression of detail, the measurable unity of action, and the singleness of effect which Poe clearly defined and expounded in 1842.
From 1830 onward, it would take a list to name, and many books to discuss, the variety of European and American writers who have created fictional stories that have more or less closely resembled the short story format. Until 1835, when Edgar Allan Poe wrote "Berenice" and "The Assignation," the approaches to the current form were irregular, lacking consistency, and often unintentional, as we can infer from the lack of any critical standard. After that year, both Poe and others seemed to pursue the close plot, the reduction of details, the clear unity of action, and the single effect that Poe clearly defined and explained in 1842.
[Pg xxi]
[Pg xxi]
Since Poe’s notable pronouncement, the place of the short-story as a distinctive literary form has been attested by the rise and growth of a body of criticism, in the form of newspaper and magazine articles, volumes given broadly to the consideration of fiction, and books devoted entirely to the short-story. Many of these contributions to the literature of criticism are particularly important because their authors were the first to announce conclusions regarding the form which have since been accepted as standard; others have traced with a nice sense of comparison the origin and development of those earlier forms of story-telling which marked the more or less definite stages of progress toward the short-story type as at present recognized; while still others are valuable as characterizing effectively the stories of well-known writers and comparing the progress which each showed as the short-story moved on toward its present high place.
Since Poe’s important statement, the short story has established itself as a unique literary form, as evidenced by the rise of criticism in the form of newspaper and magazine articles, books focused on fiction, and volumes dedicated entirely to short stories. Many of these critical contributions are particularly significant because their authors were the first to present conclusions about the form that are now widely accepted; others have carefully traced the origins and development of earlier story-telling forms that marked key stages in the evolution toward the short story as we recognize it today. Additionally, some works are valuable for effectively characterizing the stories of well-known authors and comparing how each progressed as the short story evolved into its current esteemed status.
Some detailed mention of these writings, among other critical and historical productions, may be of value here, without at all attempting a bibliography, but merely naming chronologically the work of those critics who have developed one or more phases of the subject with particular effectiveness.[10]
Some detailed mention of these writings, along with other critical and historical works, might be useful here, without trying to create a bibliography, but simply naming, in chronological order, the contributions of those critics who have effectively explored one or more aspects of the topic.[10]
Interesting and informing as all such historical and comparative research work certainly is, it must prove [Pg xxii]to be of greater value to the student than to the fiction writer. True, the latter may profit by a profound knowledge of critical distinctions, but he is more likely, for a time at least, to find his freedom embarrassed by attempting to adhere too closely to form, whereas in fiction a chief virtue is that spontaneity which expresses itself.
As interesting and informative as all historical and comparative research can be, it is likely to be more valuable to students than to fiction writers. True, fiction writers can benefit from a deep understanding of critical differences, but they are more likely, at least for a time, to feel restricted by trying to stick too closely to form. In fiction, one of the key qualities is the spontaneity that allows it to express itself.
But there would seem to be some safe middle-ground between a flouting of all canons of art, arising from an utter ignorance and contempt of the history of any artistic form, and a timid and tied-up unwillingness to do anything in fiction without first inquiring, “Am I obeying the laws as set forth by the critics?” The short-story writer should be no less unhampered because he has learned the origin and traced the growth of the ancient fiction-forms and learned to say of his own work, or that of others, “Here is a fictional sketch, here a tale, and here a short-story”—if, indeed, he does not recognize in it a delightful hybrid.
But there seems to be a safe middle ground between completely ignoring all artistic rules due to a lack of knowledge and disdain for the history of any art form, and a cautious, restrained reluctance to write fiction without first asking, “Am I following the guidelines established by critics?” A short-story writer should feel just as free even if they have studied the origins and development of traditional fiction forms, and can accurately describe their own work or that of others as “Here’s a fictional sketch, here’s a tale, and here’s a short story”—unless, of course, they see it as a charming blend of styles.
By far the most important contribution to the subject of short-story criticism was made by Edgar Allan Poe, when in May, 1842, he published in Graham’s Magazine a review of Hawthorne’s Tales, in which he announced his theory of the short-story—a theory which is regarded to-day as the soundest of any yet laid down.
By far the most significant contribution to short-story criticism came from Edgar Allan Poe when he published a review of Hawthorne’s *Tales* in *Graham’s Magazine* in May 1842, where he presented his theory of the short story—a theory that is considered the most valid of any proposed to date.
In 1876, Friedrich Spielhagen pointed out in his Novelle oder Roman the essential distinction between the novel and the short-story.[11]
In 1876, Friedrich Spielhagen highlighted in his Novelle oder Roman the key difference between the novel and the short story.[11]
[Pg xxiii]
[Pg xxiii]
In 1884, Professor Brander Matthews published in the Saturday Review, London, and in 1885 published in Lippincott’s Magazine, “The Philosophy of the Short-story,” in which, independently of Spielhagen, he announced the essential distinction between the novel and the short-story, and pointed out its peculiarly individual characteristics. In a later book-edition, he added greatly to the original essay by a series of quotations from other critics and essayists, and many original comparisons between the writings of master short-story tellers.
In 1884, Professor Brander Matthews published in the Saturday Review, London, and in 1885 published in Lippincott’s Magazine, “The Philosophy of the Short-story,” where he independently highlighted the key differences between novels and short stories, along with their unique characteristics. In a later book edition, he expanded on the original essay with numerous quotes from other critics and essayists, as well as many original comparisons of the works of master short-story writers.
In March 11, 1892, T. W. Higginson contributed to The Independent an article on “The Local Short-Story,” which was the first known discussion of that important type.
On March 11, 1892, T. W. Higginson wrote for The Independent an article titled “The Local Short-Story,” marking the first known discussion of this significant genre.
In 1895, Sherwin Cody published anonymously in London the first technical treatise on the rhetoric of the short-story, “The Art of Story Writing.”
In 1895, Sherwin Cody published anonymously in London the first technical guide on the rhetoric of the short story, “The Art of Story Writing.”
In 1896, Professor E. H. Lewis instituted in Chicago University the first course of instruction in the art of story-writing.
In 1896, Professor E. H. Lewis started the first course on story-writing at the University of Chicago.
In 1898, Charles Raymond Barrett published the first large work on Short Story Writing, with a complete analysis of Hawthorne’s “The Ambitious Guest,” and many important suggestions for writers.
In 1898, Charles Raymond Barrett published the first major work on Short Story Writing, offering a thorough analysis of Hawthorne’s “The Ambitious Guest” and providing many valuable tips for writers.
In the same year Charity Dye first applied pedagogical principles to the study of the short story, in The Story-Teller’s Art.
In the same year, Charity Dye first applied teaching principles to the study of the short story in The Story-Teller’s Art.
In 1902, Professor Lewis W. Smith published a brochure, The Writing of the Short Story, in which psychological[Pg xxiv] principles were for the first time applied to the study and the writing of the short-story.
In 1902, Professor Lewis W. Smith published a brochure, The Writing of the Short Story, where psychological[Pg xxiv] principles were applied for the first time to the study and writing of short stories.
In 1902, Professor H. S. Canby issued The Short Story, in which the theory of impressionism was for the first time developed. In 1903, this essay was included in The Book of the Short Story, Alexander Jessup collaborating, together with specimens of stories from the earliest times and lists of tales and short-stories arranged by periods.
In 1902, Professor H. S. Canby published The Short Story, where the theory of impressionism was developed for the first time. In 1903, this essay was included in The Book of the Short Story, co-authored by Alexander Jessup, along with examples of stories from early times and lists of tales and short stories organized by periods.
In 1904, Professor Charles S. Baldwin developed a criticism of American Short Stories which has been largely followed by later writers.
In 1904, Professor Charles S. Baldwin created a critique of American Short Stories that has been widely adopted by later writers.
In 1909, Professor H. S. Canby produced The Short Story in English, the first voluminous historical and critical study of the origins, forms, and content of the short-story.
In 1909, Professor H. S. Canby published The Short Story in English, the first extensive historical and critical analysis of the origins, forms, and content of the short story.
I have dwelt upon the history of the short-story thus in outline because we often meet the inquiry—sometimes put ignorantly, sometimes skeptically—What is a short-story? Is it anything more than a story that is short?
I have outlined the history of the short story like this because we often encounter the question—sometimes asked out of ignorance, sometimes with skepticism—What is a short story? Is it just a story that is short?
The passion for naming and classifying all classes of literature may easily run to extreme, and yet there are some very great values to be secured by both the reader and the writer in arriving at some understanding of what literary terms mean. To establish distinctions among short fictive forms is by no means to assert that types which differ from the technical short-story are therefore of a lower order of merit. Many specimens of cognate forms possess an interest which surpasses that of short-stories typically perfect.
The desire to name and categorize all types of literature can easily go too far, but both readers and writers can gain significant value from understanding what literary terms mean. Making distinctions among short fiction forms doesn't mean that types different from the typical short story are any less valuable. Many related forms offer an appeal that exceeds that of perfectly crafted short stories.
[Pg xxv]
[Pg xxv]
Ever since Poe differentiated the short-story from the mere short narrative we have come to a clearer apprehension of what this form really means. I suppose that no one would insist upon the standards of the short-story as being the criterion of merit for short fiction—certainly I should commit no such folly in attempting to establish an understanding, not to say a definition, of the form. More than that: some short-stories which in one or more points come short of technical perfection doubtless possess a human interest and a charm quite lacking in others which are technically perfect—just as may be the case with pictures.
Ever since Poe distinguished the short story from a simple short narrative, we've gained a clearer understanding of what this form really means. I don't think anyone would argue that the standards of the short story should be the benchmark for judging all short fiction—certainly, I wouldn’t make the mistake of trying to define or limit the form in that way. Moreover, some short stories that may fall short in one or more technical aspects undoubtedly have a human connection and charm that are completely missing in others that are technically flawless—similar to what can happen with paintings.
Some things, however, the little fiction must contain to come technically within the class of perfect short-stories. It must be centralized about one predominating incident—which may be supported by various minor incidents. This incident must intimately concern one central character—and other supporting characters, it may be. The story must move with a certain degree of directness—that is, there must be a thorough exclusion of such detail as is needless. This central situation or episode or incident constitutes, in its working out, the plot; for the plot must not only have a crisis growing out of a tie-up or crossroads or complication, but the very essence of the plot will consist in the resolution or untying or denouement of the complication.
Some things, however, a short story must have to technically qualify as a perfect short story. It should be focused around one main incident, which can be supported by various smaller incidents. This main incident must closely involve one central character, along with other supporting characters if needed. The story must have a clear direction, meaning that unnecessary details should be completely left out. This central situation, episode, or incident forms the plot; the plot should not only feature a crisis arising from a twist, crossroads, or complication, but its very essence also lies in the resolution or untying of that complication.
Naturally, the word plot will suggest to many a high degree of complexity; but this is by no means necessary in order to establish the claims of a fictitious narrative to being a short-story. Indeed, some of the best short-stories[Pg xxvi] are based upon a very slender complication; in other words, their plots are not complex.
Naturally, the word plot will suggest a high level of complexity to many; however, this isn't necessary to establish a fictional narrative as a short story. In fact, some of the best short stories[Pg xxvi] are based on a very simple complication; in other words, their plots aren't complex.
Elsewhere[12] I have defined the short-story, and this statement may serve to crystallize the foregoing. “A short-story is a brief, imaginative narrative, unfolding a single predominating incident and a single chief character; it contains a plot, the details of which are so compressed, and the whole treatment so organized, as to produce a single impression.”
Elsewhere[12] I have defined the short story, and this statement may help clarify the previous points. “A short story is a concise, imaginative narrative that focuses on a single dominant incident and one main character; it has a plot, the details of which are tightly packed, and the entire structure is arranged to create a unified impression.”
But some of these points need to be amplified.
But some of these points need to be elaborated on.
A short-story is brief not merely from the fact that it contains comparatively few words, but in that it is so compressed as to omit non-essential elements. It must be the narration of a single incident, supported, it may be, by other incidents, but none of these minor incidents must rival the central incident in the interest of the reader. A single character must be preëminent, but a pair of characters coördinate in importance may enjoy this single preëminence in the story, yet no minor characters must come to overshadow the central figure. The story will be imaginative, not in the sense that it must be imaginary, or that the facts in the story may not be real facts, but they must be handled and organized in an imaginative way, else it would be plain fact and not fiction. The story must contain a plot; that is to say, it must exhibit a character or several characters in crisis—for in plot the important word is crisis—and the denouement is the resolution of this crisis. Finally, the whole must be so organized as to leave a unified impression [Pg xxvii]upon the mind of the reader—it must concentrate and not diffuse attention and interest.
A short story is short not just because it has relatively few words, but because it’s so condensed that it leaves out non-essential elements. It should tell the story of a single incident, possibly supported by other incidents, but these minor incidents should not compete with the main event for the reader’s interest. One character must stand out, although two characters of equal importance can share that focus, but no minor characters should overshadow the main figure. The story should be creative, not in the sense that it has to be completely fictional or that the events can't be based on real facts, but the elements must be presented and arranged in an imaginative way; otherwise, it would simply be factual and not a work of fiction. The story needs a plot, which means it must show a character or multiple characters in a crisis—because in a plot, the key word is crisis—and the resolution is how that crisis is resolved. Lastly, everything must be organized to leave a cohesive impression on the reader’s mind—it should focus attention and interest, not scatter them. [Pg xxvii]
All of the same qualities that inhere in the short-story may also be found in the novelette, except that the novelette lacks the compression, unity and simplicity of the short-story and is therefore really a short novel. Both the novel and the novelette admit of sub-plots, a large number of minor incidents, and even of digressions, whereas these are denied to the short-story, which throws a white light on a single crucial instance of life, some character in its hour of crisis, some soul at the crossroads of destiny.
All the qualities present in the short story can also be found in the novelette, except that the novelette doesn’t have the same level of tightness, unity, and simplicity as the short story, making it essentially a short novel. Both the novel and the novelette allow for subplots, numerous minor incidents, and even digressions, while the short story focuses solely on a single crucial moment in life, a character facing a crisis, or a soul standing at a crossroads of destiny.
There is a tendency nowadays to give a mere outline of a story—so to condense it, so to make it swift, that the narration amounts to merely an outline without the flesh and blood of the true short-story. In other words, there is a tendency to call a scenario of a much longer story—for instance the outline of a novelette—a short-story. This extreme is as remote from the well-rounded short-story form as the leisurely novelette, padded out with infinite attention to detail.
There’s a trend these days to provide just a basic outline of a story—condensing it so much and making it so fast-paced that it ends up being just an outline without the depth of a real short story. In other words, people are starting to refer to a summary of a much longer narrative—like the outline of a novelette—as a short story. This extreme is as far from the complete short story form as the leisurely novelette, which is filled with endless details.
The tale differs from the short-story in that it is merely a succession of incidents without any real sense of climax other, for example, than might be given by the close of a man’s life, the ending of a journey, or the closing of the day. The tale is a chain; the short-story is a tree. The links of the chain may be extended indefinitely, but there comes a time when the tree can grow no longer and still remain a perfect tree. The tale is practically without organization and without plot—there [Pg xxviii] is little crisis, and the result of the crisis, if any there be, would be of no vital importance to the characters, for no special change in their relations to each other grows out of the crisis in the tale.
The tale is different from the short story in that it’s just a series of events without any real climax, except maybe something like the end of a person's life, the conclusion of a journey, or the setting of the sun. The tale is like a chain; the short story is like a tree. The links in the chain can go on forever, but there comes a point when the tree can’t grow anymore and still be a complete tree. The tale is almost unorganized and lacks a plot—there’s little to no crisis, and whatever crisis exists, if there is one, wouldn’t significantly impact the characters, as there’s no major change in their relationships that results from the crisis in the tale. [Pg xxviii]
A sketch is a lighter, shorter, and more simple form of fiction than the short-story. It exhibits character in a certain stationary situation, but has no plot, nor does it disclose anything like a crisis from which a resolution or denouement is demanded. It might almost be called a picture in still life were it not that the characters are likely to live and to move.
A sketch is a lighter, shorter, and simpler type of fiction compared to a short story. It shows a character in a specific situation but doesn’t have a plot or reveal any kind of crisis that requires a resolution or conclusion. It could almost be considered a still life picture if the characters weren’t likely to come to life and move.
In these introductory pages I have emphasized and reëmphasized these distinctions in various ways, because to me they seem to be important. But after all they are merely historical and technical. A man may be a charming fellow and altogether admirable even if his complexion quarrels with his hair and his hands do not match his feet in relative size.
In these introductory pages, I've highlighted and re-highlighted these distinctions in different ways because I believe they're important. However, they are ultimately just historical and technical. A guy can be a delightful person and completely admirable even if his skin tone clashes with his hair and his hands don't match the size of his feet.
The present tendency of the British and American short-story is a matter of moment because no other literary form commands the interest of so many writers and readers. All literature is feeling the hand of commerce, but the short-story is chiefly threatened. The magazine is its forum, and the magazine must make money or suspend. Hence the chief inquiry of the editor is, What stories will make my magazine sell? And this is his attitude because his publisher will no longer pay a salary to an editor whose magazine must be endowed, having no visible means of support.
The current trend in British and American short stories is significant because no other literary form captures the attention of as many writers and readers. All literature is influenced by commercial interests, but the short story is particularly at risk. Magazines are the main platform for short stories, and they need to be profitable or they’ll shut down. As a result, the primary concern of editors is, What stories will help my magazine sell? This perspective arises because publishers are no longer willing to pay salaries to editors for magazines that lack financial support.
[Pg xxix]
[Pg xxix]
These conditions force new standards to be set up. The story must have literary merit, it must be true to life, it must deal sincerely with great principles—up to the limit of popularity. Beyond that it must not be literary, truthful, or sincere. Popularity first, then the rest—if possible.
These conditions require new standards to be established. The story needs to have literary value, it must be realistic, and it should honestly address significant principles—up to the point of popularity. Beyond that, it shouldn't be literary, truthful, or sincere. Popularity comes first, and then the other aspects—if we can manage it.
All this is a serious indictment of the average magazine, but it is true. Only a few magazines regard their fiction as literature and not as merely so much merchandise, to be cut to suit the length of pages, furnish situations for pictures, and create subscriptions by readers. Yet somehow this very commercialized standard is working much good in spite of itself. It is demanding the best workmanship, and is paying bright men and women to abandon other pursuits in order to master a good story-telling method. It is directing the attention of our ablest literators to a teeming life all about them when otherwise they might lose themselves in abstractions “up in the air.” It is, for business reasons, insisting upon that very compression to which Maupassant attained in the pursuit of art. It is building up a standard of precise English which has already advanced beyond the best work of seventy years ago—though it has lost much of its elegance and dignity.
All of this is a significant criticism of the average magazine, but it's true. Only a few magazines treat their fiction as literature rather than just as merchandise to fit page lengths, provide scenarios for images, and attract subscribers. Yet, surprisingly, this commercial standard is creating a lot of good despite itself. It demands high-quality craftsmanship and is hiring talented men and women to leave other jobs to master effective storytelling techniques. It’s focusing the attention of our best writers on the vibrant life around them, whereas they might otherwise get lost in abstract ideas “up in the air.” For business reasons, it’s pushing for the very conciseness that Maupassant achieved in the pursuit of art. It’s establishing a standard of precise English that has already surpassed the best work from seventy years ago, even though it has lost some of its elegance and dignity.
In a word, the commercialized short-story is a mirror of the times—it compasses movement, often at the expense of fineness, crowds incidents so rapidly that the skeleton has no space in which to wear its flesh, and prints stories mediocre and worse because better ones will not be received with sufficient applause.
In short, the commercialized short story reflects the times—it captures action, often sacrificing quality, crams events together so quickly that there's no room for depth, and publishes stories that are mediocre or worse because the better ones won’t get enough recognition.
[Pg xxx]
[Pg xxx]
But while the journalized short-story adopts the hasty standards of the newspaper because the public is too busy to be critical, in some other respects it mirrors the times more happily. The lessons of seriousness it utters with the lips of fun. Its favorite implement is a rake, but it does uncover evils that ought not to remain hidden. Finally, it concerns itself with human things, and tosses speculations aside; it carefully records our myriad-form local life as the novel cannot; and it has wonderfully developed in all classes the sense of what is a good story, and that is a question more fundamental to all literature than some critics might admit.
But while the journalized short story follows the fast pace of newspapers because people are too busy to be critical, in other ways it reflects the times more positively. It shares serious lessons through humor. Its main tool is a rake, yet it reveals problems that shouldn’t stay hidden. Ultimately, it focuses on human experiences and sets aside theories; it meticulously captures our diverse local life in a way that novels can’t; and it has significantly shaped everyone’s understanding of what makes a good story, which is a question more essential to all literature than some critics might acknowledge.
Here then is a new-old form abundantly worth study, for its understanding, its appreciation, and its practise. If there is on one side a danger that form may become too prominent and spirit too little, there are balancing forces to hold things to a level. The problems, projects and sports of the day are, after all, the life of the day, and as such they furnish rightful themes. Really, signs are not wanting that point to the truth of this optimistic assertion: The mass of the people will eventually do the right, and they will at length bring out of the commercialized short-story a vital literary form too human to be dull and too artistic to be bad.
Here’s a new-old form that's definitely worth studying for understanding, appreciation, and practice. While there’s a risk that structure might overshadow spirit, there are balancing forces to keep everything in check. The issues, projects, and activities of today are, after all, the essence of life right now, and they provide worthy themes. In fact, there are plenty of signs that support this hopeful statement: the majority of people will ultimately make the right choice, and they will eventually transform the commercialized short story into a vital literary form that’s too human to be boring and too artistic to be bad.
[Pg xxxi]
[Pg xxxi]
SUGGESTIVE QUESTIONS AND EXERCISES FOR CLASS
OR INDIVIDUAL STUDY OF A SHORT-STORY
1. Estimating from an average page, how many words has this story?
1. Based on an average page, how many words does this story have?
2. What type of story is it chiefly?
2. What kind of story is it mainly?
3. Does it subordinately illustrate any other types also? If so, which?
3. Does it also show any other types? If so, which ones?
4. Is the title adequate?
Is the title good enough?
5. What is its theme?
What's the theme?
6. Write out a brief scenario of the plot.
6. Write a short summary of the plot.
7. Are the incidents arranged in effective order?
7. Are the events organized in a way that makes sense?
8. How many characters (a) speak, (b) are present but do not speak, (c) are referred to but are not present?
8. How many characters (a) speak, (b) are there but don’t speak, (c) are mentioned but are not there?
9. Are the characters idealized, or are they quite true to life?
9. Are the characters portrayed as perfect, or are they more realistic?
10. Are the characters individualized? Point out how the author accomplishes this result.
10. Are the characters distinct individuals? Explain how the author achieves this effect.
11. What is the author’s attitude toward his characters?
11. What is the author's attitude towards his characters?
12. What is the proportion of dialogue to description and comment?
12. What is the ratio of dialogue to description and commentary?
13. What do you think of the dialogue?
13. What do you think about the conversation?
14. Do you regard this story as being realistic, romantic, idealistic, or composite?
14. Do you see this story as realistic, romantic, idealistic, or a mix of everything?
15. Is the author’s purpose apparent? If so, what is it?
15. Is it clear what the author's purpose is? If it is, what is it?
16. Are there any weak points in the plot?
16. Are there any weaknesses in the plot?
17. Is the introduction interesting and clear?
17. Is the introduction engaging and easy to understand?
18. Does the story end satisfactorily?
18. Does the story wrap up well?
19. Is the conclusion either too long or too short?
19. Is the conclusion too lengthy or too brief?
20. Would any parts of the story be improved either by shortening or by expanding? Be specific.
20. Would any parts of the story be better if they were shorter or longer? Be specific.
21. Does the story arouse in you any particular feeling, or mood?
21. Does the story evoke any specific feelings or moods in you?
22. What are the especially strong points of the story?
22. What are the standout strengths of the story?
23. Write a general appreciation, using about two hundred words.
23. Write a general appreciation, using around two hundred words.
24. What is the final impression the story makes upon you?
24. What is your overall impression of the story?
[Pg xxxii]
[Pg xxxii]
NOTE
Note
Nine distinct methods for the study of a novel are outlined in the appendix to The Study of a Novel, by Selden L. Whitcomb. Some of these may be applied to the short-story. Some excellent study methods and questions are given in The Writing of the Short Story, by Lewis Worthington Smith.
Nine different methods for studying a novel are outlined in the appendix to The Study of a Novel, by Selden L. Whitcomb. Some of these can also be used for short stories. Some great study methods and questions are presented in The Writing of the Short Story, by Lewis Worthington Smith.
FOOTNOTES:
FOOTNOTES:
[1] Excellent and comprehensive works, dealing more especially with the English novel, are: The English Novel, Sidney Lanier (Scribners, 1883, 1897); The Development of the English Novel, Wilbur L. Cross (Macmillan, 1899); The Evolution of the English Novel, Francis Hovey Stoddard (Macmillan, 1900); A Study of Prose Fiction, Bliss Perry (Houghton-Mifflin, 1902); The Study of A Novel, Selden L. Whitcomb (Heath, 1905); The Technique of the Novel, Charles F. Horne (Harpers, 1908); Materials and Methods of Fiction, Clayton Hamilton (Baker-Taylor, 1908).
[1] Excellent and comprehensive works that focus especially on the English novel include: The English Novel, Sidney Lanier (Scribners, 1883, 1897); The Development of the English Novel, Wilbur L. Cross (Macmillan, 1899); The Evolution of the English Novel, Francis Hovey Stoddard (Macmillan, 1900); A Study of Prose Fiction, Bliss Perry (Houghton-Mifflin, 1902); The Study of A Novel, Selden L. Whitcomb (Heath, 1905); The Technique of the Novel, Charles F. Horne (Harpers, 1908); Materials and Methods of Fiction, Clayton Hamilton (Baker-Taylor, 1908).
[2] Good collections arranged historically are, The Book of the Short Story, Alexander Jessup and Henry Seidel Canby; and The Short-story, Brander Matthews. The former contains lists of stories short and long grouped by periods.
[2] Good collections organized by history include The Book of the Short Story by Alexander Jessup and Henry Seidel Canby, as well as The Short-story by Brander Matthews. The first one features lists of both short and long stories categorized by time periods.
[5] Stories from Homer, Church.
__A_TAG_PLACEHOLDER_0__ Stories by Homer, Church.
[8] The fabliau, a French form adopted by the English, is an amusing story told in verse, generally of eight-syllable line. Another poetic form of the period is the lai, a short metrical romance.
[8] The fabliau, a French form taken on by the English, is a funny story told in verse, usually with eight syllables per line. Another poetic form from that time is the lai, a brief lyrical romance.
[9] The Italian novella was popular in England down to the late Elizabethan period. It is a diverting little story of human interest but told with no moral purpose, even when it is reflective. In purpose it is the direct opposite of the exemplum, which is a moral tale told to teach a lesson, and may be compared to the “illustration” which the exhorter repeats in the pulpit to-day.
[9] The Italian novella remained popular in England until the late Elizabethan era. It’s an entertaining little story about human experiences, but it doesn’t aim to impart a moral lesson, even when it reflects on deeper themes. In its intent, it stands in direct contrast to the exemplum, which is a moral story designed to teach a lesson, similar to the “illustration” a preacher shares in the pulpit today.
[10] For a fuller examination of the bibliography of the subject refer to the bibliographical notes in the books by Matthews, Baldwin, Perry, Jessup and Canby, Canby, Dye, C. A. Smith, and the editor of this volume—all referred to in detail elsewhere herein. A supplementary bibliographical note will also be found on p. 433.
[10] For a more complete look at the bibliography on this topic, check out the bibliographical notes in the works by Matthews, Baldwin, Perry, Jessup, Canby, Dye, C. A. Smith, and the editor of this volume—all discussed in detail elsewhere in this text. You can also find an additional bibliographical note on p. 433.
[11] For this important record of the discriminations of a critic little known in America, we are indebted to Professor C. Alphonso Smith’s work on The American Short Story.
[11] For this significant account of the biases of a critic who is not well-known in America, we owe thanks to Professor C. Alphonso Smith’s work on The American Short Story.
[12] Writing the Short-Story, p. 30.
__A_TAG_PLACEHOLDER_0__ Writing the Short Story, p. 30.
[Pg 1]
[Pg 1]
I
STORIES OF ACTION AND
ADVENTURE
Mateo Falcone.—Prosper Mérimée.
Mateo Falcone.—Prosper Mérimée.
A Lodging for the Night.—Robert Louis Stevenson.
A Lodging for the Night.—Robert Louis Stevenson.
[Pg 2]
[Pg 2]
But the great majority of novels and plays represent human life in nothing more faithfully than in their insistence upon deeds. It is through action—tangible, visible action upon the stage, or, in the novel, action suggested by the medium of words—that the characters of the play and the novel are ordinarily revealed. In proportion as high art is attained in either medium of expression this action is marked by adequacy of motive, by conformity to the character, by progression and unity.—Bliss Perry, A Study of Prose Fiction.
But most novels and plays depict human life primarily through actions. It's through tangible, visible actions on stage, or in a novel, actions conveyed through words, that the characters are typically revealed. As high art is achieved in either form of expression, this action is characterized by clear motivation, alignment with the character, progression, and unity.—Bliss Perry, A Study of Prose Fiction.
[Pg 3]
[Pg 3]
Studying The Short-Story
STORIES OF ACTION AND ADVENTURE
Few words are needed to set forth the meaning of this caption, for the designation is sufficiently explicit. One point, however, it will be well to emphasize: In fiction all action worthy of the name is the outward manifestation of an inward condition. There is a sense, therefore, in which all stories that are not mere pictures of internal states are stories of action; just as it may be said that all stories are stories of thought, feeling, and resolve. The point of distinction lies here: in which direction does the story tend?
Few words are needed to explain the meaning of this caption, as the term is quite clear. One aspect, however, is worth emphasizing: In fiction, all meaningful action is a reflection of internal conditions. Therefore, in a way, all stories that aren't just depictions of internal states are stories of action; similarly, it can be said that all stories are about thought, feeling, and determination. The key distinction lies here: in which direction does the story go?
In one class, outward action is seen to work profoundly upon the inward life, and the story shows us the workings of this influence in its final effect upon the inward man and his character. In another, an inward state is the basis, the premise, the initial force, in the story, and from that beginning the story goes on to show by a series of outward movements just how this great inward force operates in and upon conduct. In a third class, outward and inward action balance.
In one class, external actions are shown to have a deep impact on internal life, and the story illustrates how this influence ultimately affects the inner self and character. In another class, an internal state serves as the foundation, the starting point, the driving force in the story, and from that point, the narrative demonstrates through a series of external actions how this significant internal force interacts with behavior. In a third class, external and internal actions are in balance.
Now when the outward or visible action, prominently displaying physical movement, becomes paramount, whether shown as cause or as effect, we have the action-story, and sometimes the adventure-story. And in proportion as the interest of the reader centers in what the characters do instead of in what they are, the story departs from the subtler forms, such as the character-study and the psychological-study, and action or adventure becomes the type. Reverse these conditions, and another sort is the result.
Now, when the external or visible actions, clearly showing physical movement, take the spotlight, whether as a cause or an effect, we get the action story, and sometimes the adventure story. The more the reader's interest focuses on what the characters do instead of who they are, the more the story moves away from the subtler forms, like character studies and psychological studies, and action or adventure becomes the main type. Reverse these conditions, and you get a different kind of story.
Naturally, many variations are possible with these two chief ingredients ready for use. One story may begin with soul action, then proceed to show us bodily action with great vividness, and end by taking us back into the man’s inner life. Another may progress on contrary lines; and so on, in wide variety. The final test as to what is the predominating type lies in the appeal to the interest of the reader: is it based chiefly on what the characters are or on what they do? Is it the why, or the how, the motive or the happening, that is most absorbing? The best stories, even the best action and adventure yarns, are likely to show a fair proportion of both.
Naturally, there are many variations possible with these two main ingredients ready to go. One story might start with the inner workings of a character, then vividly show us their physical actions, and finally take us back into their inner life. Another might go in the opposite direction, and so on, with plenty of variety. The final test of what type prevails depends on what grabs the reader's interest: is it mainly about who the characters are or what they do? Is it the reason behind their actions or the events themselves that are most captivating? The best stories, even the top action and adventure tales, usually balance both elements well.
[Pg 4]
[Pg 4]
MÉRIMÉE AND HIS WRITINGS
Prosper Mérimée was born in Paris, September 28, 1803. His father, a Norman, was a professor in the École des Beaux-Arts, and his mother, Anne Moreau, who had English blood in her veins, was also an artist. Prosper attended the Collège Henri IV, and in the home[Pg 5] of his parents met the literati of the day. He undertook the study of law, but soon abandoned it, and spent some years in observing life while journeying abroad. He made much of ancient and modern languages, becoming especially proficient in Spanish. Upon his return to Paris he served in public office, and held the post of Inspector General of Public Monuments until declining health compelled him to retire. He was elected to several learned societies and became a commander of the Legion of Honor, and, in 1844, a member of the French Academy. Nine years later he was made a Senator of France, an honor he owed to the friendship of the Empress Eugénie. He died at Cannes on the 23rd of September, 1870, at the age of sixty-seven.
Prosper Mérimée was born in Paris on September 28, 1803. His father, a Norman, worked as a professor at the École des Beaux-Arts, and his mother, Anne Moreau, who had English ancestry, was also an artist. Prosper attended the Collège Henri IV, where he interacted with the literary figures of his time at his parents' home. He started studying law but quickly dropped out and spent several years observing life while traveling abroad. He became well-versed in ancient and modern languages, especially Spanish. After returning to Paris, he took a public office position and served as Inspector General of Public Monuments until his declining health forced him to retire. He was elected to several scholarly societies, became a commander of the Legion of Honor, and, in 1844, joined the French Academy. Nine years later, he was appointed a Senator of France, a recognition he received due to his friendship with Empress Eugénie. He passed away in Cannes on September 23, 1870, at the age of sixty-seven.
Prosper Mérimée was a successful poet, translator, novelist, and short-story writer. His translations of the Russian novelists have been pronounced excellent. “Colomba” is a romantic novelette of singular power and charm. His most famous short-stories are “The Taking of the Redoubt,” “Tamango,” “Federigo,” “The Etruscan Vase,” “The Vision of Charles XI,” “The Venus of Ille,” “The Pearl of Toledo,” “Carmen” (on which Bizet’s opera is founded), “Arsène Guillot,” and “Mateo Falcone”; which follows, in a translation by the editor of this volume. It was first published in the Revue de Paris, May, 1829.
Prosper Mérimée was a successful poet, translator, novelist, and short-story writer. His translations of Russian novelists are considered outstanding. “Colomba” is a romantic novelette that is uniquely powerful and charming. His most famous short stories include “The Taking of the Redoubt,” “Tamango,” “Federigo,” “The Etruscan Vase,” “The Vision of Charles XI,” “The Venus of Ille,” “The Pearl of Toledo,” “Carmen” (which inspired Bizet’s opera), “Arsène Guillot,” and “Mateo Falcone,” the latter of which follows in a translation by the editor of this volume. It was first published in the Revue de Paris, May 1829.
Among French masters of the short-story, Mérimée easily holds place in the first rank. Both personality and genius are his, and both well repay careful study. He[Pg 6] was an alert student of history, to whom its anecdotal side made strongest appeal. The detached, impersonal, unprejudiced attitude of the historian is seen in his short-stories, for he tells his narrative impartially, with a sort of take-it-or-leave-it air, allowing the story to make its own appeal without any special pleading on his part. His story-telling manner is, therefore, one of ironical coldness. He delighted to tell his tales in the matter-of-fact manner of the casual traveller who has picked up a good yarn and passes it on just as it was told him. And this literary attitude was a reflex of his personality. To him, to love deeply was to endure pain, to follow impulse was to court trouble, to cherish enthusiasms was to delude the mind, so he schooled himself to appear impassive. Yet now and then in his lucid and clear-cut stories, as in his urbane life, a certain sweetness is revealed which speaks alluringly of the tender spirit within.
Among French masters of the short story, Mérimée easily ranks among the best. He possesses both a vibrant personality and remarkable talent, both of which deserve close examination. He[Pg 6] was an attentive student of history, fascinated most by its anecdotal aspects. The detached, impersonal, unbiased perspective of a historian is evident in his short stories, as he tells his narratives without bias, presenting them with a take-it-or-leave-it attitude, allowing the story to resonate on its own without any extra persuasion from him. Therefore, his storytelling style has a tone of ironic coldness. He enjoyed sharing his tales in a straightforward manner, like a casual traveler who has picked up a good story and retells it exactly as he heard it. This literary approach reflected his personality. For him, loving deeply meant enduring pain, following one’s impulses meant inviting trouble, and nurturing passions meant deceiving the mind, so he trained himself to seem unfeeling. Yet occasionally in his clear and well-defined stories, as in his sophisticated life, a certain sweetness emerges that hints at the tender spirit within.
All my life I have sought to free myself from prejudices, to be a citizen of the world before being a Frenchman, but now all these garments of philosophy are nothing to me. To-day I bleed for the wounds of the foolish French, I mourn for their humiliations, and, however ungrateful and absurd they may be, I love them still.—Prosper Mérimée, letter to Madame de Beaulaincourt (Marquise de Castellane), written, ten days before his death, on hearing from his friend Thiers that the disaster of Sedan was irreparable and that the Empire was a thing of the past.
All my life, I've tried to free myself from prejudices, to be a citizen of the world before identifying as a Frenchman, but now all those philosophical ideals mean nothing to me. Today, I feel the pain of the foolish French; I grieve for their humiliations, and no matter how ungrateful and ridiculous they may be, I still love them.—Prosper Mérimée, letter to Madame de Beaulaincourt (Marquise de Castellane), written ten days before his death, upon hearing from his friend Thiers that the disaster of Sedan was irreparable and that the Empire was a thing of the past.
A gallant man and a gentleman, he has had the reward he would have wished. He has been discreetly and intimately enjoyed by delicate tastes.... It was his rare talent to give us those limpid, rapid, full tales, that one reads in an hour, re-reads in a day, which fill the memory and occupy the thoughts forever.—Émile[Pg 7] Faguet, quoted by Grace King, in C. D. Warner’s Library of the World’s Best Literature.
A brave man and a gentleman, he received the recognition he desired. He has been enjoyed discreetly and intimately by those with refined tastes.... He had the rare ability to tell those clear, fast-paced, rich stories that you can read in an hour, revisit in a day, and that stay in your memory and thoughts forever.—Émile Faguet, quoted by Grace King, in C.D. Warner’s Library of the World’s Best Literature.
Colomba, Mateo Falcone, La Double Méprise, La Vénus d’Ille, L’Enlèvement de la Redoute, Lokis, have equals, but no superiors, either in French prose fiction or in French prose. Grasp of human character, reserved but masterly description of scenery, delicate analysis of motive, ability to represent the supernatural, pathos, grandeur, simple narrative excellence, appear turn by turn in these wonderful pieces, as they appear hardly anywhere else.—George Saintsbury, A Short History of French Literature.
Colomba, Mateo Falcone, La Double Méprise, La Vénus d’Ille, L’Enlèvement de la Redoute, Lokis are equal to each other, but none surpass them in French prose fiction or prose in general. They showcase a deep understanding of human character, a skilled but subtle description of settings, a nuanced analysis of motivations, an ability to depict the supernatural, and an array of emotions, grandeur, and straightforward storytelling excellence that are rarely matched anywhere else.—George Saintsbury, A Short History of French Literature.
While inferior to Stendhal as a psychologist, notwithstanding the keenness of his analysis, he excels him in opening out and developing action, and in composing a work whose parts hang well together. In addition he possesses a “literary” style,—not the style of an algebraist, but that of an exact, self-sustained writer. He attains the perfection of form in his particular line. Nearly all his stories are masterpieces of that rather dry and hard, though forceful, nervous, and pressing style, which constitutes him one of the most original and most characteristic novelists of the century.—Georges Pellissier, The Literary Movement in France.
While not as skilled as Stendhal when it comes to psychology, despite the sharpness of his analysis, he surpasses him in unfolding and developing action, and in creating a cohesive work. Additionally, he has a “literary” style—not the style of a mathematician, but that of an exact, self-sufficient writer. He achieves perfection in his particular genre. Almost all his stories are masterpieces of a rather dry and hard, yet powerful, energetic, and urgent style, which makes him one of the most original and distinctive novelists of the century.—Georges Pellissier, The Literary Movement in France.
I do not scruple to apply the word great to Mérimée, a word which is not to be used lightly, but of which he is thoroughly deserving. His style is the purest and clearest of our century; no better model could possibly be found for our present generation. His prose, to my mind, together with that of Musset, Fromentin, and Renan, is the most beautiful modern prose which has ever been written in the French language. Like the great classics of the 17th century, he never wrote a passage merely to please the eye or the ear; his sole aim was to express thought, and the colour of his language, which is so pre-eminently true to nature, is of a rare sobriety; he never studies effect, and, nevertheless, invariably attains it.—Edouard Grenier, Literary Reminiscences.
I don't hesitate to call Mérimée “great,” a term not to be used carelessly, but one he truly deserves. His style is the purest and clearest of our century; there's no better model for today’s generation. In my view, his prose, alongside that of Musset, Fromentin, and Renan, represents the most beautiful modern writing ever produced in the French language. Like the great classics of the 17th century, he never wrote a passage just to please the eye or the ear; his only goal was to convey thought, and the quality of his language, which is remarkably true to nature, is refreshingly restrained; he doesn’t aim for effect, yet he always achieves it.—Edouard Grenier, Literary Reminiscences.
FURTHER REFERENCES FOR READING ON MÉRIMÉE
FURTHER REFERENCES FOR READING ON MÉRIMÉE
Miscellaneous Studies, Walter Pater (1895); Modern French Literature, Benjamin W. Wells (1896); Contes et Nouvelles, by Prosper Mérimée, edited by J. E. Michell (1907); A Century of French Fiction, Benjamin W. Wells (1898); Prosper Mérimée, Arthur Symonds, in A Century of French Romance, edited by Edmund W. Gosse (1901); Six Masters in Disillusion, Algar Therold (1909).
Miscellaneous Studies, Walter Pater (1895); Modern French Literature, Benjamin W. Wells (1896); Short Stories and Novellas, by Prosper Mérimée, edited by J. E. Michell (1907); A Century of French Fiction, Benjamin W. Wells (1898); Prosper Mérimée, Arthur Symonds, in A Century of French Romance, edited by Edmund W. Gosse (1901); Six Masters in Disillusion, Algar Therold (1909).
[Pg 8]
[Pg 8]
MATEO FALCONE
BY PROSPER MÉRIMÉE
BY PROSPER MÉRIMÉE
Translation by The Editor
Translation by The Editor
Note: The technical terms used in the marginal notes explanatory of the short-stories throughout this work follow the terminology used and treated fully in the present author’s Writing the Short-Story.
Notice: The technical terms found in the marginal notes that explain the short stories in this work are based on the terminology used and fully discussed in the author’s Writing the Short-Story.
As one comes out of Porto-Vecchio, and turns northwest toward the center of the island, the ground is seen to rise quite rapidly, and after three hours’ walk by tortuous paths, blocked by large masses of rocks, and sometimes cut by ravines, the traveler finds himself on the edge of a very extensive maquis. This bush is the home of the Corsican shepherds, and of whomsoever has come into conflict with the law. It is well known that the Corsican laborer, to spare himself the trouble of fertilizing his lands, sets fire to a certain stretch of forest; so much the worse if the[Pg 9] flames spread further than is needed;Setting is minutely given, yet not diffusely. whatever happens, he is sure to have a good harvest by sowing upon this ground, enriched by the ashes of the very trees which it grows. When the corn is plucked, he leaves the straw, because it is too much trouble to gather it. The roots, which have remained in the ground without being harmed, sprout in the following spring into very thick shoots, which in a few years attain a height of seven or eight feet. This sort of underwood it is that they call maquis. It is composed of different kinds of trees and shrubs, all mixed and tangled, just as they were planted by God. Only with the hatchet in hand can a man open a passage, and there are maquis so dense and so tufted that even the wild sheep can not penetrate them.
As you leave Porto-Vecchio and head northwest toward the center of the island, the terrain quickly rises. After three hours of hiking through winding paths blocked by large rocks and occasionally crossed by ravines, travelers find themselves at the edge of a vast maquis. This bushland is home to Corsican shepherds and those who have run afoul of the law. It's well known that Corsican farmers, to avoid the hassle of fertilizing their fields, set fire to certain areas of forest. If the flames spread more than intended, it's unfortunate; regardless, they can count on a good harvest from the land, enriched by the ashes of the very trees that once stood there. After harvesting the grain, they leave the straw behind, as gathering it is too much effort. The roots that remain intact in the ground send up thick shoots the following spring, growing to heights of seven or eight feet within a few years. This type of underbrush is what they call maquis. It's made up of various trees and shrubs, all mixed and tangled, just as they were created by nature. One can only make a path with a hatchet in hand, and there are maquis so dense and bushy that even wild sheep cannot get through them.
2. If you have killed a man, go into the maquis of Porto-Vecchio, and with a good gun and powder and ball, you will live there in safety. Do not forget a brown cloak with a Why “brown”? hood, which serves as a coverlet and a mattress. The shepherds will give you milk, The vendetta. See Mérimée’s novelette Colomba.cheese, and chestnuts, and you will have nothing to fear from justice, nor from the relatives of the dead man, unless it be when you have to go down into the town to renew your munitions.
2. If you've killed someone, go into the maquis of Porto-Vecchio, and with a good gun, ammunition, and supplies, you can live there safely. Don't forget a brown cloak with a Why "brown"? hood, which can be used as a cover and a mattress. The shepherds will give you milk, The vendetta. See Mérimée’s story Colomba. cheese, and chestnuts, and you won't have to worry about justice or the deceased's relatives, except when you need to head into town to restock your supplies.
3. The house of Mateo Falcone, when I was in Corsica in 18—, was half a league from this maquis. He was a comparatively rich man for [Pg 10] that country, living nobly, Note force of “nobly.”that is to say, without doing anything, on the products of his herds, which the shepherds, a species of nomads, led to pasture here and there on the mountains. When I saw him, two years after the event which I am about to relate, he seemed to me about fifty years of age at the most. Proceeds to physical characterization. Picture a small, but robust man, with curly hair black as jet, and aquiline nose, lips thin, large and animated eyes, and a deeply tanned complexion. Hint of climax. His skill in shooting was considered extraordinary, even in his country, where there were so many good shots. Illustrative anecdotes.For example, Mateo would never fire on a sheep with buckshot, but at a hundred and twenty paces he would bring it down with a bullet in its head, or in the shoulder, as he chose. At night he could use his gun as easily as by day, and they told me the following example of his skill, which will perhaps seem incredible to those who have not traveled in Corsica. At eighty paces, a lighted candle was placed behind a transparent piece of paper as large as a plate. He took aim, then the candle was extinguished, and after a moment in the most complete darkness, he shot and pierced the transparency three times out of four.
3. Mateo Falcone's house, when I was in Corsica in 18—, was half a league from this maquis. He was a relatively wealthy man for that area, living well, [Pg 10] which means he didn't have to work and relied on the products of his herds, which the shepherds, a nomadic people, took to graze here and there in the mountains. When I met him, two years after the event I’m about to recount, he looked to be around fifty at most. Moves to physical characterization. Imagine a short but sturdy man with curly hair as black as jet, an aquiline nose, thin lips, large bright eyes, and a deeply tanned skin tone. Hint of climax. His marksmanship was considered exceptional, even in his homeland, which was full of excellent shooters. Examples. For instance, Mateo never used buckshot on sheep; instead, from a hundred and twenty paces away, he could bring one down with a bullet to its head or shoulder, depending on his aim. At night, he was just as skilled with his gun as he was during the day, and they told me a story about his ability that might sound unbelievable to those who haven't been to Corsica. At eighty paces, they placed a lit candle behind a sheet of transparent paper the size of a plate. He took aim, then the candle was put out, and after a moment in complete darkness, he shot and hit the paper three times out of four.
4. With a talent so surpassing, Mateo Falcone had gained a great reputation. He was said to be as loyal a friend as he was dangerous an enemy. Otherwise obliging and [Pg 11] charitable, he lived at peace with everyone in the district of Porto-Vecchio. But they tell of him that when at Corte, where he had gotten a wife, he had very vigorously freed himself of a rival who was reputed to be as redoubtable in war as in love; Further anecdote.at all events, people attributed to Mateo a certain gunshot which surprised this rival as he was shaving before a small mirror hung in his window.
4. With exceptional talent, Mateo Falcone had built a great reputation. He was known to be as loyal a friend as he was a dangerous enemy. Generally friendly and generous, he got along well with everyone in the Porto-Vecchio area. However, they say that when he was in Corte, where he married, he dealt very decisively with a rival who was considered formidable both in battle and in romance; Another story. at any rate, people claimed that Mateo was responsible for a gunshot that caught this rival off guard while he was shaving in front of a small mirror by his window.
5. The affair having been hushed up, Mateo married. His wife Giuseppa had first presented him with three daughters (which enraged him), but finally a son came, Central character introduced unobtrusively.whom he named Fortunato: he was the hope of the family, the inheritor of the name. Vendetta and clan spirit.The girls were well married; their father could reckon, in case of need, upon the poniards and rifles of his sons-in-law. Introduction ends.The son was only ten years old, but he was already showing signs of a promising disposition.
5. After keeping the affair quiet, Mateo got married. His wife Giuseppa first gave him three daughters, which frustrated him, but eventually a son was born, Main character introduced subtly. whom he named Fortunato: he was the family's hope and the one who would carry on the name. Vendetta and family loyalty. The girls were well married; their father could rely on the daggers and rifles of his sons-in-law if necessary. Introduction complete. The son was only ten years old, but he was already showing signs of a promising character.
First Plot Event.
(A plot incident is essential to a plot; to change it would be to alter the plot materially.)
An old-style literary device.
6. On a certain day in autumn, Mateo and his wife set out early to visit one of their flocks in a clearing of maquis. Little Fortunato wished to accompany them, but the clearing was too far away; besides, someone must stay to guard the house; so the father refused: we shall soon see if he had no occasion to repent.
6. One autumn day, Mateo and his wife headed out early to check on one of their flocks in a clearing of maquis. Little Fortunato wanted to go with them, but the clearing was too far away; plus, someone needed to stay and watch the house, so the father said no: we’ll soon see if he had any reason to regret that.
7. He had been gone for some hours, and little Fortunato was tranquilly stretched out in the sunshine, looking at the blue mountains, and[Pg 12] thinking that on the next Sunday he would be going to town to dine with his uncle the corporal,[13] All the footnotes are by Mérimée. when he was suddenly interrupted in his meditations by the firing of a gun. He got up and turned toward that side of the plain from which the sound had Action now supersedes setting. come. Other gunshots followed, fired at irregular intervals, and each time they came nearer and nearer. Note force of “irregular.” At last on the path which led from the plain to Mateo’s house, appeared a man wearing a cap pointed like those worn by the mountaineers. Dramatic introduction of a leading character, and preparation for first crisis.He was bearded and covered with rags, and dragged himself along with difficulty by leaning on his gun. Second Plot Incident.He had just received a gunshot wound in the thigh.
7. He had been gone for a few hours, and little Fortunato was peacefully lying in the sunshine, gazing at the blue mountains, and thinking that next Sunday he would be heading to town to have dinner with his uncle the corporal,[13] All the footnotes are by Mérimée. when he was suddenly pulled out of his thoughts by the sound of a gunshot. He got up and looked toward the area of the plain where the noise had come from. More gunshots followed, fired at random intervals, and each time they got closer and closer. Note force of “irregular.” Finally, on the path that led from the plain to Mateo’s house, a man appeared wearing a pointed cap like those worn by the mountaineers. Dramatic introduction of a main character and setup for the first crisis. He had a beard and was dressed in rags, struggling to move as he leaned on his gun. Second Plot Event. He had just suffered a gunshot wound in the thigh.
8. This man was a bandit,[14] who having set out at night to get some powder from the town, had fallen on the way into an ambush of Corsican soldiers.[15] After a vigorous defense he had succeeded in making his retreat, hotly pursued and skirmishing from rock to rock. But he had gained only a little on the soldiers, and his wound made it hopeless for [Pg 13]him to reach the maquis before being overtaken.
8. This guy was a bandit, [14] who, after setting out at night to get some gunpowder from town, fell into an ambush of Corsican soldiers along the way.[15] After a fierce fight, he managed to retreat, dodging and skirmishing from rock to rock. But he only gained a little distance from the soldiers, and his wound made it impossible for him to reach the maquis before they caught up with him. [Pg 13]
9. He approached Fortunato and said to him:
9. He walked up to Fortunato and said to him:
10. “You are the son of Mateo Falcone?”
10. "Are you Mateo Falcone's son?"
11. “Yes.”
“Yes.”
12. “I am Gianetto Sanpiero. I am pursued by the yellow collars.[16] Hide me, for I can go no further.”
12. “I am Gianetto Sanpiero. I'm being chased by the yellow collars. [16] Hide me, because I can't go any further.”
13. “And what will my father say if I hide you without his permission?”
13. “And what will my dad say if I hide you without his permission?”
14. “He will say that you have done right.”
14. “He will say that you did the right thing.”
15. “How do you know?”
“How do you know that?”
16. “Hide me quickly; they are coming.”
16. “Hide me fast; they are coming.”
17. “Wait till my father comes.”
17. “Just wait until my dad gets here.”
18. “How can I wait! A curse upon it! They will be here in five minutes. Come, hide me, or I will kill you.”
18. “How can I wait! Damn it! They’ll be here in five minutes. Come on, hide me, or I swear I’ll kill you.”
19. Fortunato answered him with the utmost coolness:
19. Fortunato replied to him very calmly:
20. “Your gun is empty, and there are no more cartridges in your carchera.”[17]
20. “Your gun is empty, and there are no more bullets in your carchera.”[17]
21. “I have my stiletto.”
“I have my heels.”
22. “But could you run as fast as I can?”
22. “But can you run as fast as I can?”
23. He gave a leap, and put himself out of reach.
23. He jumped and put himself out of reach.
24. “You are no son of Mateo Falcone! Will you then allow me to be taken in front of your home?”
24. “You’re not Mateo Falcone’s son! Are you really going to let me be taken in front of your house?”
[Pg 14]
[Pg 14]
25. The child seemed to be touched.Note force of “seemed.”
25. The child looked like they were affected.Note how "looked like" feels.
26. “What will you give me if I hide you?” he asked him, drawing nearer.
26. “What will you give me if I hide you?” he asked, moving closer.
Detailed Incident Report.
27. The fugitive felt in the leather pouch that hung at his belt, and took out a five-franc piece, which he had reserved, no doubt, for powder. Fortunato smiled at sight of the piece Shows value of the reward. of money, and seizing hold of it, he said to Gianetto:
27. The runaway checked the leather pouch hanging from his belt and pulled out a five-franc coin, which he had probably saved for gunpowder. Fortunato grinned when he saw the coin and, grabbing it, said to Gianetto:
28. “Fear nothing!”Revelation of character.
"Don't be afraid!"Revelation of character.
29. He quickly made a large hole in a haystack which stood near by the house, Gianetto crouched down in it, and the child covered him up in such a way as to leave a little space for breathing, without making it possible for any one to suspect that the hay concealed a man. He acted, still further, with the cunning of a tricky savage. Author’s real estimate of the boy.He went and brought a cat and her kittens, and set them on top of the haystack to make believe that it had not been recently touched. Then noticing the blood-stains on the path near the house, he carefully covered them with dust. This done, he lay down again in the sun with the utmost calmness.
29. He quickly made a large hole in a haystack nearby the house, Gianetto crouched down inside it, and the child covered him up in a way that left just enough room for him to breathe, but no one would be able to tell that a man was hidden in the hay. He acted with the cleverness of a crafty savage. The author's true assessment of the boy.He went and got a cat and her kittens and placed them on top of the haystack to make it look like it hadn't been disturbed recently. Then, noticing the bloodstains on the path near the house, he carefully covered them with dust. After that, he lay back down in the sun with complete calmness.
30. Some minutes later six men in brown uniforms with yellow collars, commanded by an adjutant, stood before Mateo’s door. This adjutant was a distant relative of Falcone—for in Corsica more remote degreesA deputy in command. of relationship are recognized than [Pg 15] elsewhere. Note complication by this relationship.His name was Tidora Gamba; he was an energetic man, greatly feared by the banditti, many of whom he had already hunted down.
30. A few minutes later, six men in brown uniforms with yellow collars, led by an adjutant, stood in front of Mateo’s door. This adjutant was a distant relative of Falcone—because in Corsica, more distant relations are acknowledged than in other places. His name was Tidora Gamba; he was a determined man, greatly feared by the bandits, many of whom he had already tracked down.
31. “Good day, little cousin,” he said, coming up to Fortunato. “How you have grown! Have you seen a man passing just now?”
31. “Hey there, little cousin,” he said, approaching Fortunato. “You’ve grown so much! Did you see a man pass by just now?”
32. “Oh, I am not so tall as you, Cousin,” the child replied with a foolish look.
32. “Oh, I’m not as tall as you are, Cousin,” the child said with a silly expression.
33. “That time’s coming. But have you not seen a man pass by?—Tell me.”
33. “That time is coming. But haven’t you seen a guy walk by?—Tell me.”
34. “If I have seen a man pass by?”
34. “If I saw a man walk by?”
35. “Yes, a man with a pointed cap and a waistcoat embroidered in red and yellow?”
35. “Yes, a guy wearing a pointed hat and a waistcoat stitched with red and yellow?”
36. “A man with a pointed cap and a waistcoat embroidered in red and yellow?”
36. “A guy wearing a pointed hat and a waistcoat decorated in red and yellow?”
37. “Yes; answer quickly, and don’t repeat my questions.”
37. “Yes; answer quickly, and don’t repeat my questions.”
38. “This morning Monsieur le Curé passed our door on his horse Piero. He asked me how papa was, and I told him—”
38. “This morning, the priest rode past our door on his horse Piero. He asked me how Dad was doing, and I told him—”
39. “Ah, you little rascal, you are making game of me! Tell me at once which way Gianetto went, for it is he that we are after, and I am certain he took this path.”
39. “Oh, you little trickster, you’re messing with me! Tell me right now which way Gianetto went, because that’s who we’re looking for, and I’m pretty sure he took this path.”
40. “How do you know that?”
40. “How do you know that?”
41. “How do I know that? I know you have seen him.”
41. “How do I know that? I know you’ve seen him.”
42. “Does one see passers-by when one is asleep?”
42. “Do you see people walking by when you’re asleep?”
[Pg 16]
[Pg 16]
43. “You were not asleep, you little demon; the gunshots would have waked you.”
43. “You weren't sleeping, you little troublemaker; the gunshots would have woken you up.”
44. “You think, then, Cousin, that your guns make a great noise? My father’s rifle makes much more.”
44. “So you think, Cousin, that your guns are really loud? My dad’s rifle is way louder.”
45. “May the devil confound you, you young scamp! I am sure enough that you have seen Gianetto. Perhaps you have even hidden him. Here, comrades, go into this house, and see if our man is not there. He could walk only on one foot, and he has too much good sense, the rascal, to have tried to reach the maquis limping. Besides, the marks of blood stop here.”
45. “May the devil mess with you, you young troublemaker! I know for sure that you’ve seen Gianetto. Maybe you’ve even hidden him. Everyone, go into this house and see if our guy is there. He could only walk on one foot, and he’s smart enough, the rascal, not to have tried to reach the maquis while limping. Besides, the bloodstains stop here.”
46. “Whatever will papa say!” asked Fortunato, with a chuckle; “what will he say when he finds out that his house has been entered while he was away!”
46. “What will Dad say?” asked Fortunato with a laugh. “What will he say when he finds out that someone broke into his house while he was away?”
47. “Good-for-nothing!” cried the adjutant Gamba, taking him by the ear, “do you know that I am able to make you change your tune? Perhaps when I have given you a score or more thwacks with the flat of a sword, you will speak at last!”
47. "Good-for-nothing!" shouted the adjutant Gamba, grabbing him by the ear, "Do you realize that I can make you change your attitude? Maybe after I give you a dozen or more smacks with the flat side of a sword, you'll finally talk!"
48. But Fortunato still laughed derisively.
48. But Fortunato just laughed mockingly.
49. “My father is Mateo Falcone!” he said with energy.
49. “My dad is Mateo Falcone!” he said enthusiastically.
50. “Do you know, you little rogue, that I can carry you off to Corte, or to Bastia? I’ll make you sleep in a dungeon, on a pallet of straw, your feet in irons, and I’ll have you guillotined,[Pg 17] if you don’t tell me where Gianetto Sanpiero is.”
50. “Do you know, you little rascal, that I can take you to Corte or Bastia? I’ll make you sleep in a dungeon on a straw bed, your feet in shackles, and I’ll have you executed if you don’t tell me where Gianetto Sanpiero is.”[Pg 17]
51. The child burst out laughing at this foolish threat. He only repeated:
51. The kid started laughing at this silly threat. He just repeated:
52. “My father is Mateo Falcone!”
52. “My dad is Mateo Falcone!”
53. “Adjutant,” whispered one of the voltigeurs, “we’d better not embroil ourselves with Mateo.”
53. “Adjutant,” whispered one of the voltigeurs, “we should avoid getting involved with Mateo.”
54. Gamba seemed evidently embarrassed. He talked in a low voice with his soldiers, who had already been through the house. It was not a lengthy operation, for the cabin of a Corsican consists of only a single square room. The furniture comprises a table, some benches, a few boxes, and utensils for hunting and housekeeping. Meanwhile, little Fortunato caressed his cat, Character revelation.and seemed maliciously to enjoy the embarrassment of the voltigeurs and his cousin.
54. Gamba looked clearly embarrassed. He spoke quietly with his soldiers, who had already checked the house. It didn't take long since a Corsican cabin is just a single square room. The furniture includes a table, some benches, a few boxes, and tools for hunting and household chores. Meanwhile, little Fortunato was petting his cat, Character reveal. and seemed to take pleasure in the discomfort of the voltigeurs and his cousin.
55. One soldier came up to the haystack. He looked at the cat and carelessly gave a dig at the hay with his bayonet, shrugging his shoulders as if he thought the precaution were ridiculous. Nothing stirred, and the face of the child did not betray the least emotion.
55. One soldier approached the haystack. He glanced at the cat and casually poked the hay with his bayonet, shrugging his shoulders as if he found the caution silly. Nothing moved, and the child's face showed no reaction at all.
56. The adjutant and his troop were in despair; they were looking seriously toward the edge of the plain, as though disposed to return the way they had come; The turn in the plot.when their chief—convinced that threats would produce no effect upon the son of Falcone—thought he would make[Pg 18] Foundation for main crisis. one last effort by trying the power of cajoleries and presents.
56. The adjutant and his crew were feeling hopeless; they were looking anxiously toward the edge of the plain, almost considering going back the way they had come; The plot twist. when their leader—certain that threats wouldn't work on the son of Falcone—decided to make[Pg 18] Basis for the main crisis. one last attempt by using flattery and gifts.
57. “Little Cousin,” he said, “you seem to be a wide-awake young fellow enough. You will get on! But you play a mean trick with me; and, if I did not fear to give pain to my cousin Mateo, devil take me, I’d carry you off with me!”
57. “Little Cousin,” he said, “you seem to be a pretty sharp young guy. You’re going to do well! But you’re pulling a sneaky trick on me; and, if I didn’t worry about hurting my cousin Mateo, I swear I’d take you away with me!”
58. “Bah!”
“Ugh!”
59. “But, when my cousin returns I shall relate to him the whole affair, and for your having gone to the trouble to tell me a lie, he will give you the whip till he draws blood.”
59. “But when my cousin comes back, I’ll tell him the whole story, and for the trouble you took to feed me a lie, he’ll whip you until he draws blood.”
60. “Do you know that?”
"Did you know that?"
61. “You’ll find out! But, see here—be a good lad, and I’ll give you something.”
61. “You’ll find out! But listen—be a good kid, and I’ll give you something.”
62. “I, my Cousin, will give you some advice—it is, that if you delay any more Gianetto will reach the maquis, then it will take a cleverer fellow to go and hunt for him.”
62. “I, my Cousin, want to give you some advice—if you keep delaying, Gianetto will reach the maquis, and then it will take someone smarter to go and find him.”
63. The adjutant drew from his pocket a silver watch worth quite ten crowns; and seeing how the little Fortunato’s eyes sparkled when hePlot Incident Particularized. looked at it, he said, as he held the watch suspended at the end of its steel chain:
63. The adjutant pulled a silver watch worth at least ten crowns from his pocket; and noticing how little Fortunato’s eyes sparkled when he looked at it, he said, holding the watch dangling from its steel chain:
64. “You rogue! you would like very well to have such a watch as this hung round your neck, and to go and promenade the streets of Porto-Vecchio, proud as a peacock; people would ask you, ‘What time is it?’ and you would reply, ‘Look at my watch!’”
64. “You scoundrel! You’d love to have a watch like this hanging around your neck, strutting through the streets of Porto-Vecchio, all proud and flashy; people would ask you, ‘What time is it?’ and you’d just say, ‘Check out my watch!’”
[Pg 19]
[Pg 19]
65. “When I am grown up, my uncle the corporal will give me a watch.”
65. “When I grow up, my uncle the corporal will give me a watch.”
66. “Yes; but your uncle’s son has one already—not such a fine one as this, it is true—of course, he is younger than you.”
66. “Yeah, but your uncle’s son already has one—not as nice as this, it’s true—of course, he’s younger than you.”
67. The child sighed.
The kid sighed.
68. “Well, would you like this watch, little Cousin?”
68. “So, would you like this watch, little Cousin?”
69. Fortunato, ogling the watch out of the corner of his eyes, looked just as a cat does when they suddenly offer it a chicken. Because it is afraid a joke is being played on it, it dares not pounce upon its prey, and from time to time it turns away its eyes so as not to succumb to the temptation;Illustration. but it constantly licks its chops, as if to say to its master, “But your joke is a cruel one!”
69. Fortunato, glancing at the watch out of the corner of his eye, looked just like a cat does when it's suddenly offered a piece of chicken. Because it's afraid there's a trick being played on it, it doesn't dare to pounce on its prey and occasionally looks away to resist the temptation; Illustration. but it keeps licking its lips, as if to say to its owner, “But your joke is a mean one!”
70. However, the adjutant Gamba seemed to be offering the watch in good faith. Fortunato did not hold out his hand, but he said to him with a bitter smile:
70. However, the assistant Gamba seemed to be offering the watch sincerely. Fortunato didn't reach out his hand, but he said to him with a bitter smile:
71. “Why do you jest with me?”
71. “Why are you joking with me?”
72. “By Heaven, I am not joking! Only tell me where Gianetto is and this watch is yours.”
72. “I swear, I’m not kidding! Just tell me where Gianetto is and this watch is yours.”
73. Fortunato allowed an incredulous sigh to escape him; and, fixing his black eyes on those of the adjutant, he sought to find in them the faith he wished to have in his words.
73. Fortunato let out a disbelieving sigh and, locking his dark eyes on those of the adjutant, he tried to find in them the trust he wanted to place in his words.
74. “May I lose my epaulets,” cried the adjutant, “if I do not give you the watch on these terms! My comrades[Pg 20] are witnesses, and I cannot go back on my word!”
74. “I’ll forfeit my rank,” shouted the adjutant, “if I don’t give you the watch on these terms! My friends[Pg 20] are witnesses, and I can’t go back on my word!”
75. So speaking, he held the watch nearer and nearer until it almost touched the pale cheeks of the child, whose face showed plainly the combat going on in his heart between covetousness and his respect for the laws of hospitality. A key to the plot.His bare breast heaved violently, and he seemed to be almost stifling. All the time the watch dangled and turned, and sometimes grazed the tip of his nose. Main Crisis.At length, little by little, his right hand lifted toward the watch, the ends of his fingers touched it, and it rested wholly on his palm, except that the adjutant still loosely held the end of the chain. The face was blue, the case was newly polished—in the sunshine it seemed to be all afire. The temptation was too strong.
75. As he spoke, he brought the watch closer and closer until it nearly touched the pale cheeks of the child, whose face clearly showed the struggle happening in his heart between greed and his respect for the rules of hospitality. A plot key. His bare chest heaved wildly, and he seemed to be almost suffocating. The watch dangled and swung the entire time, sometimes brushing the tip of his nose. Main Crisis. Eventually, little by little, his right hand reached toward the watch, the tips of his fingers made contact, and it came to rest fully in his palm, except that the adjutant still loosely held onto the end of the chain. The face was blue, the case freshly polished—in the sunlight, it looked like it was on fire. The temptation was too strong.
76. So Fortunato raised his left hand and with his thumb pointed over his shoulder to the haystack against which he was standing. The adjutant understood him immediately. He let go the end of the chain; Fortunato felt himself sole possessor of the watch. Still sly.He jumped up with the agility of a deer, and moved ten paces away from the stack, which the voltigeurs at once began to overturn.
76. So Fortunato raised his left hand and pointed his thumb over his shoulder at the haystack he was leaning against. The adjutant got it right away. He released the end of the chain; Fortunato felt like he was the only one with the watch. Still sneaky. He sprang up with the agility of a deer and moved ten paces away from the stack, which the voltigeurs immediately started to topple.
77. It was not long before they saw the hay move, and a bleeding man, poniard in hand, came forth. But when he tried to rise to his feet, his stiffening wound would not permit him to stand. He fell down. The[Pg 21] adjutant threw himself upon him and snatched away his stiletto. Speedily, he was securely bound, in spite of his resistance.
77. It wasn’t long before they saw the hay shift, and a bleeding man, dagger in hand, emerged. But when he tried to get up, his stiffening wound wouldn’t let him stand. He collapsed. The[Pg 21] adjutant jumped on him and took his dagger away. He was quickly bound tight, despite his struggles.
78. Gianetto, laid on the ground and tied like a bundle of fagots, turned his head toward Fortunato, who had drawn nearer.
78. Gianetto, lying on the ground and tied up like a bundle of sticks, turned his head towards Fortunato, who had come closer.
79. “Son of—,” he said to him with more contempt than anger.
79. “Son of—,” he said to him with more disdain than rage.
80. The boy threw to him the silver-piece that he had received from him, feeling conscious that he no longer merited it; but the outlaw seemed not to notice this action. He said to the adjutant in a perfectly cool voice:
80. The boy threw him the silver coin he had gotten from him, feeling like he no longer deserved it; but the outlaw didn’t seem to notice. He said to the adjutant in a completely calm voice:
81. “My dear Gamba, I am not able to walk; you will be obliged to carry me to the town.”
81. “My dear Gamba, I can’t walk; you’ll have to carry me to the town.”
82. “You could run as fast as a kid just now,” retorted his cruel captor. “But be easy, I am so glad to have caught you that I could carry you for a league on my own back without being tired. All the same, my friend, we are going to make a litter for you out of some branches and your cloak, and at the farm at Crespoli we shall find some horses.”
82. “You could run as fast as a kid just now,” replied his cruel captor. “But don’t worry, I’m so glad to have caught you that I could carry you for a mile on my back without getting tired. Still, my friend, we’re going to make a stretcher for you out of some branches and your cloak, and at the farm in Crespoli, we’ll find some horses.”
Let-down in tension.
83. “Good!” said the prisoner. “You had better also put a little straw on your litter that I may travel more easily.”
83. “Great!” said the prisoner. “You should also add some straw to your bedding so I can travel more comfortably.”
84. While the voltigeurs were occupied, some making a sort of stretcher out of chestnut boughs, and others dressing Gianetto’s wound, Mateo Falcone and his wife suddenly appeared[Pg 22] in a bend of the path which led from the maquis. Contrast to tragic spirit of the story.The wife advanced, bending laboriously under an enormous bag of chestnuts, while her husband came up jauntily, carrying in his hand only a gun, while another was slung over his shoulder, Local color.for it is unworthy of a man to carry any other burden than his weapons.
84. While the voltigeurs were busy, some making a sort of stretcher from chestnut branches, and others treating Gianetto’s wound, Mateo Falcone and his wife suddenly appeared[Pg 22] around a bend in the path that led from the maquis. Contrasts with the tragic spirit of the story.The wife approached, struggling under the weight of a huge bag of chestnuts, while her husband strolled up cheerfully, holding only a gun in his hand, with another slung over his shoulder, Local culture.because a man should never carry anything other than his weapons.
85. At sight of the soldiers, Mateo’s first thought was that they had come to arrest him. But why that idea? Had he any quarrel with the law? No. He bore a good reputation. He was, as they say, particularly well thought of; but he was a Corsican, a mountaineer, and there are but few Corsican mountaineers who, if they scrutinize their memories well, cannot find some pecadillo—some gunshot, some dagger thrust, or some similar bagatelle. “Bagatelle” discloses the Corsican attitude.Mateo, more than most, had a clear conscience, for it was fully ten years since he had pointed his gun against a man; but all the same he was prudent, and he put himself in position to make a good defense, if need be.
85. When Mateo saw the soldiers, his first thought was that they had come to arrest him. But why would he think that? Did he have any issues with the law? No. He had a good reputation. He was, as people say, particularly well-regarded; but he was a Corsican, a mountaineer, and there are very few Corsican mountaineers who, if they really think about it, can’t find some minor trouble—some gunshot, some stab wound, or something similar. “Bagatelle” shows the Corsican attitude. Mateo, more than most, had a clear conscience, since it had been a full ten years since he had aimed his gun at anyone; but still, he was cautious, and he positioned himself to be ready to defend himself, if necessary.
86. “Wife,” said he to Giuseppa, “put down your sack and keep yourself in readiness.”
86. “Wife,” he said to Giuseppa, “put down your bag and get ready.”
87. She obeyed on the instant. He gave her the gun that was slung over his shoulder, and which would likely cause him inconvenience. Suspense.He cocked the one he had in his hand and advanced slowly toward the house, skirting the trees which bordered the path, and ready at the least hostile[Pg 23] demonstration to throw himself behind the largest trunk, whence he could fire from cover. His wife walked close behind him, holding his spare gun and his cartridge box. Local color.The duty of a good housewife, in case of conflict, is to reload her husband’s weapons.
87. She acted immediately. He handed her the gun from his shoulder, which might cause him some trouble. Tension. He cocked the gun he had in his hand and moved slowly toward the house, avoiding the trees lining the path, ready to jump behind the largest trunk at the first sign of danger, where he could shoot from cover. His wife followed closely behind, carrying his spare gun and cartridge box. Local flavor. A good housewife's role during a conflict is to reload her husband's weapons.
88. On the other side, the adjutant was very uneasy at sight of Mateo advancing thus upon them with measured steps, his gun forward and his finger on the trigger.
88. On the other side, the adjutant felt very uneasy seeing Mateo approaching them with steady steps, his gun aimed forward and his finger on the trigger.
89. “If it should chance,” thought he, “that Gianetto is related to Mateo, or that he is his friend, and he intends to protect him, the bullets of his two guns will come to two of us A fight would ensue. as sure as a letter to the post, and if he should aim at me, good-bye to our kinship!”
89. “What if,” he thought, “Gianetto is related to Mateo, or he’s his friend and plans to protect him? The shots from his two guns are bound to hit one of us A fight would break out. just like a letter going to the post. And if he aims at me, that’s the end of our family ties!”
90. In this perplexity, he put on a courageous front and went forward alone toward Mateo to tell him of the matter, while greeting him like an old acquaintance; but the brief space that separated him from Mateo seemed to him terribly long.
90. In this confusion, he put on a brave face and walked alone toward Mateo to tell him about the situation, greeting him like an old friend; but the short distance between him and Mateo felt painfully long.
91. “Hello! Ah! my old comrade,” he called out. “How are you, old fellow? It’s I, Gamba, your cousin.”
91. “Hey! Ah! my old buddy,” he called out. “How are you doing, man? It’s me, Gamba, your cousin.”
92. Mateo, without replying a word, stopped, and while the other was speaking he imperceptibly raised the muzzle of his rifle in such a manner that it was pointing heavenward by the time the adjutant came up to him.
92. Mateo, without saying a word, stopped, and while the other was talking, he subtly lifted the muzzle of his rifle so that it was pointing upward by the time the adjutant approached him.
93. “Good day, brother,”[18] said the [Pg 24]adjutant, holding out his hand. “It’s a very long time since I’ve seen you.”
93. “Good day, brother,” [18] said the [Pg 24]adjutant, holding out his hand. “It’s been a really long time since I’ve seen you.”
94. “Good day, brother.”
“Good day, bro.”
95. “I just came in, while passing, to say ‘good day’ to you and my cousin Pepa. We have had a long journey to-day; but we must not complain of fatigue, There is something manlike in most of Mérimée’s female characters.for we have taken a famous prize. We have just got hold of Gianetto Sanpiero.”
95. “I just stopped by on my way in to say 'hi' to you and my cousin Pepa. We’ve had a long trip today, but we shouldn’t complain about being tired, Many of Mérimée's female characters have a certain masculinity to them.because we’ve achieved something great. We've just gotten hold of Gianetto Sanpiero.”
96. “God be praised!” exclaimed Giuseppa. “He stole one of our milch goats last week.”
96. “Thank God!” exclaimed Giuseppa. “He stole one of our milk goats last week.”
97. These words rejoiced Gamba.
97. These words made Gamba happy.
98. “Poor devil!” said Mateo. “He was hungry.”
98. “Poor guy!” said Mateo. “He was hungry.”
99. “The fellow defended himself like a lion,” pursued the adjutant, slightly mortified. “He killed one of the men, and, not content with that, he broke Corporal Chardon’s arm; but that is not such a great disaster, for he is nothing but a Frenchman.... Then he hid himself so cleverly that the devil would not have been able to find him. Without my little cousin Fortunato, I should never have discovered him.”
99. “The guy fought back like a lion,” the adjutant continued, a bit embarrassed. “He killed one of the men, and, not satisfied with that, he broke Corporal Chardon’s arm; but that's not such a big deal, since he's just a Frenchman.... Then he hid himself so well that even the devil couldn't have found him. Without my little cousin Fortunato, I would have never discovered him.”
100. “Fortunato!” cried Mateo.
“Fortunato!” Mateo shouted.
101. “Fortunato!” repeated Giuseppa.
“Fortunato!” Giuseppa repeated.
102. “Yes, Gianetto was hidden way down in your haystack; but my little cousin showed me his trick. So I will speak of him to his uncle the corporal, that he may send him a fine present for his trouble. And his name and yours will be in the[Pg 25] report which I shall send to Monsieur l’avocat général.”
102. “Yes, Gianetto was tucked away deep in your haystack; but my little cousin showed me his trick. So I will mention him to his uncle the corporal, so he can send him a nice gift for his trouble. And both his name and yours will be in the[Pg 25] report that I’ll send to Monsieur l’avocat général.”
103. “Malediction!” said Mateo under his breath.
103. “Curse it!” Mateo muttered under his breath.
104. They had now rejoined the detachment. Gianetto was already laid on the litter and they were ready to leave. When he saw Mateo in the company of Gamba, he smiled a strange smile; then, turning himself toward the door of the house, he spat on the threshold as he cried out:
104. They had now rejoined the group. Gianetto was already on the stretcher, and they were set to leave. When he spotted Mateo with Gamba, he gave a strange smile; then, turning towards the door of the house, he spat on the threshold and shouted:
105. “House of a traitor!”
"Home of a traitor!"
106. No one but a man who had made up his mind to die would have dared to utter the word “traitor” as applying to Falcone. Key to plot. Fifth Plot Incident.One good stroke of the dagger, which would not need to be repeated, would have immediately repaid the insult. But Mateo made no other gesture than that of putting his hand to his head like a dazed man.
106. No one but a man determined to die would have dared to call Falcone a "traitor." Key to plot. Fifth Plot Incident. One good stab with the dagger, which wouldn't need to be repeated, would have instantly avenged the insult. But Mateo made no other move than placing his hand on his head like someone in a daze.
107. Fortunato had gone into the house upon seeing his father come up. He reappeared shortly with a jug of milk, which he offered with Is this repentance, fear, hypocrisy, or an attempt to placate his father? downcast eyes to Gianetto. “Keep away from me!” cried the outlaw in a voice of thunder.
107. Fortunato had entered the house when he saw his father approaching. He soon came back out with a jug of milk, which he offered to Gianetto with Is this genuine remorse, fear, hypocrisy, or just trying to please his father? downcast eyes. “Stay away from me!” shouted the outlaw in a booming voice.
108. Then turning to one of the voltigeurs,
108. Then turning to one of the voltigeurs,
109. “Comrade, give me a drink of water,” he said.
109. “Hey, buddy, can I get a drink of water?” he said.
110. The soldier placed the gourd in his hands, and the bandit drank the water given him by a man with whom he had just exchanged gunshots. He then asked that they[Pg 26] would tie his hands across his breast instead of having them behind his back.
110. The soldier handed over the gourd, and the bandit drank the water offered by a man with whom he had just exchanged gunfire. He then requested that they tie his hands across his chest instead of behind his back.
111. “I prefer,” he said, “to lie down at my ease.”
111. “I prefer,” he said, “to lie down and relax.”
112. When they had adjusted them to his satisfaction, the adjutant gave the signal to start, said adieu to Mateo—who answered never a word—and went down at a quick pace toward the plain.
112. Once they had arranged everything to his liking, the adjutant signaled to start, said goodbye to Mateo—who didn't respond at all—and hurried down toward the plain.
113. Some ten minutes passed before Mateo opened his mouth. The child looked with an uneasy eye first at his mother, then at his father, who, leaning on his gun, was gazing at him with a gaze of concentrated wrath.
113. About ten minutes went by before Mateo finally spoke. The child glanced nervously at his mother and then at his father, who was leaning on his gun with a look of intense anger directed at him.
114. “You begin well,” said Mateo at last, in a voice calm but terrifying to those who knew the man.
114. “You’re starting off well,” Mateo finally said, his voice calm yet frightening to those who knew him.
115. “Father!” exclaimed the child with tears in his eyes, drawing near as if to fall upon his knees.
115. “Dad!” the child cried, tears in his eyes, approaching as if he was about to kneel.
116. But Mateo only cried out:
But Mateo just yelled:
117. “Away from me!”
"Get away from me!"
118. The child stopped and began to sob, standing motionless a few steps from his father.
118. The child stopped and started to cry, standing still a few steps away from his father.
119. Giuseppa came near. She had just perceived the chain of the watch dangling about from Fortunato’s blouse.
119. Giuseppa stepped closer. She had just noticed the chain of the watch hanging from Fortunato’s shirt.
120. “Who gave you that watch?” she asked him severely.
120. “Who gave you that watch?” she asked him sternly.
121. “My cousin the adjutant.”
"My cousin, the assistant."
122. Falcone seized the watch, and, throwing it violently against a stone, broke it into a thousand pieces.
122. Falcone grabbed the watch and, throwing it violently against a rock, smashed it into a thousand pieces.
[Pg 27]
[Pg 27]
123. “Woman,” he said, “this child—is he mine?”
123. “Woman,” he said, “is this child mine?”
124. Giuseppa’s brown cheeks flamed brick-red.
124. Giuseppa's brown cheeks turned bright red.
125. “What are you saying, Mateo? Do you know to whom you are speaking?”
125. “What are you talking about, Mateo? Do you realize who you're talking to?”
126. “Well, this child is the first of his race who has committed a treason.”
126. “Well, this child is the first of his kind to commit treason.”
127. Fortunato’s sobs and hiccoughs redoubled, and Falcone kept his lynx-eyes always fixed upon him. At length he struck the ground with the butt of his gun; Full Resultant Crisis.then he flung it across his shoulder and, calling to Fortunato to follow him, retook the way to the maquis. The child obeyed.
127. Fortunato’s sobs and hiccups grew louder, and Falcone kept his sharp eyes fixed on him. Finally, he struck the ground with the butt of his gun; Complete Resultant Crisis. then he slung it over his shoulder and, calling for Fortunato to follow him, headed back to the maquis. The child obeyed.
128. Giuseppa ran after Mateo, and seized him by the arm.
128. Giuseppa ran after Mateo and grabbed him by the arm.
129. “He is your son,” she said to him in a trembling voice, fixing her black eyes on those of her husband, as though to read what was passing through his mind.
129. “He is your son,” she said to him in a shaky voice, looking into her husband’s eyes as if trying to understand what he was thinking.
130. “Let me go,” replied Mateo: “I am his father.”
130. “Let me go,” Mateo replied. “I’m his dad.”
131. Giuseppa embraced her son, and went back crying into the hut. She threw herself on her knees before an image of the Virgin, and prayed with fervor.
131. Giuseppa hugged her son and went back into the hut, crying. She dropped to her knees in front of an image of the Virgin and prayed earnestly.
132. Meanwhile, Falcone had walked about two-hundred yards along the path, and stopped at a little ravine, which he descended. He sounded the earth with the butt of his gun and found it soft and easy[Pg 28] to dig. The spot seemed suitable for his design.
132. Meanwhile, Falcone had walked about two hundred yards along the path and stopped at a small ravine, which he went down. He tested the ground with the butt of his gun and found it soft and easy to dig. The place seemed right for his plan.[Pg 28]
133. “Fortunato, go near to that large rock.”
“Fortunato, come closer to that big rock.”
134. The boy did as he was commanded, then he knelt down.
134. The boy did what he was told, then he knelt down.
135. “Say your prayers.”
"Say your prayers."
136. “Father, Father, do not kill me!”
136. “Dad, please don’t kill me!”
137. “Say your prayers!” repeated Mateo in a terrible voice.
137. “Say your prayers!” Mateo said in a terrifying voice.
138. The child, all stammering and sobbing, repeated the Pater and the Credo. The father, in a firm voice responded Amen at the close of each prayer.
138. The child, all stuttering and crying, repeated the Pater and the Credo. The father, with a steady voice, responded Amen at the end of each prayer.
139. “Are those all the prayers that you know?”
139. "Is that all the prayers you know?"
140. “I also know the Ave Maria, and the Litany that my aunt taught me, Father.”
140. “I also know the Ave Maria and the Litany that my aunt taught me, Father.”
141. “It is rather long, but it doesn’t matter.”
141. “It’s pretty long, but that’s okay.”
142. The child achieved the Litany in a faint voice.
142. The child recited the Litany in a soft voice.
143. “Have you finished?”
"Are you done?"
144. “Oh, Father, Father, mercy! Pardon me! I will never do it again! I will beg my cousin the corporal with all my might for mercy for Gianetto!”
144. “Oh, Father, Father, please have mercy! Forgive me! I promise I won’t do it again! I will plead with my cousin the corporal as hard as I can for mercy for Gianetto!”
145. He went on speaking; Mateo loaded his rifle and took aim as he said:
145. He kept talking; Mateo loaded his rifle and took aim as he said:
146. “May God forgive you!”
“Hope you find forgiveness!”
147. The boy made a desperate effort to get up and clasp his father’s knees, but he had not time. Mateo fired, and Fortunato fell dead.
147. The boy made a frantic attempt to rise and grab his father’s knees, but there wasn’t enough time. Mateo shot, and Fortunato dropped dead.
148. Without throwing a single glance at the body, Mateo returned to his house to fetch a spade with which to bury his son. He had taken but a few steps when he met Giuseppa, who had run out, alarmed by the sound of the firing.
148. Without looking at the body, Mateo went back to his house to get a shovel to bury his son. He had only taken a few steps when he ran into Giuseppa, who had rushed out, startled by the sound of the gunfire.
149. “What have you done?”
"What did you do?"
150. “Justice!”
“Justice!”
151. “Where is he?”
"Where's he?"
Swift conclusion.
Character revelation.
152. “In the ravine; I am going to bury him.
152. “In the ravine; I'm going to bury him.
He died a Christian; I shall have a mass sung for him.
He died as a Christian; I’ll have a mass said for him.
Let some one tell my son-in-law Tiodoro Bianchi to come and live with us.”
Let someone tell my son-in-law Tiodoro Bianchi to come and live with us.
[Pg 29]
[Pg 29]
STEVENSON AND HIS WRITINGS
Robert Lewis Balfour Stevenson, as he was baptized, was born November 13, 1850, at Edinburgh, Scotland, of Scotch parents. He entered Edinburgh University when he was seventeen, intending to learn his father’s profession, civil engineering—though he had always longed to be a writer, having dictated books at the precocious ages of six, seven, and nine. At twenty-one he decided to study law, and four years later passed the bar examination in his native city. In 1880 he married Mrs. Osbourne, with whose son, Lloyd, he collaborated in the writing of several stories. Stevenson’s health, which was never robust, sent him on many journeys in search of strength—to the European continent, several times to the United States, and once on a two years’ voyage to the South Seas. In 1890 he finally settled in Samoa, where[Pg 30] he died at his home, Vailima, December 3, 1894. He was buried on the nearby summit of Mount Vaea.
Robert Lewis Balfour Stevenson, as he was baptized, was born on November 13, 1850, in Edinburgh, Scotland, to Scottish parents. He entered Edinburgh University at seventeen, planning to follow in his father's footsteps as a civil engineer—although he had always wanted to be a writer, having dictated stories at the early ages of six, seven, and nine. At twenty-one, he opted to study law and, four years later, passed the bar exam in his hometown. In 1880, he married Mrs. Osbourne, with whose son, Lloyd, he worked on several stories. Stevenson's health, which was never very strong, led him to take many trips in search of better health—traveling several times to the European continent, to the United States, and once on a two-year journey to the South Seas. In 1890, he finally settled in Samoa, where [Pg 30] he died at his home, Vailima, on December 3, 1894. He was buried on the nearby summit of Mount Vaea.
Stevenson was a brilliant novelist, essayist, poet, and short-story writer. Treasure Island, Kidnapped, The Master of Ballantrae, and Weir of Hermiston—the last of which he left unfinished—are his best novels. His journeys were chronicled by such delightful travel-sketches as An Inland Voyage, Travels With a Donkey, and The Silverado Squatters. A Child’s Garden of Verse contains his best poems. His most noteworthy essays are found in Memories and Portraits, and Familiar Studies of Men and Books. Most famous among his short-stories are “The Strange Case of Dr. Jekyll and Mr. Hyde” (a novelette in length), “The Pavilion on the Links,” “Thrawn Janet,” “Will o’ the Mill,” “The Sire de Malétroit’s Door,” “The Merry Men,” “Markheim,” published first in Unwin’s Annual, London, 1885, and given in this volume in full, and “A Lodging for the Night,” which follows entire. It was first published in The Temple Bar magazine, October, 1877.
Stevenson was an exceptional novelist, essayist, poet, and short story writer. Treasure Island, Kidnapped, The Master of Ballantrae, and Weir of Hermiston—the last of which he left unfinished—are his best-known novels. His travels are captured in charming travel essays like An Inland Voyage, Travels With a Donkey, and The Silverado Squatters. A Child’s Garden of Verse features his finest poems. His most significant essays can be found in Memories and Portraits and Familiar Studies of Men and Books. His most popular short stories include “The Strange Case of Dr. Jekyll and Mr. Hyde” (which is a novelette), “The Pavilion on the Links,” “Thrawn Janet,” “Will o’ the Mill,” “The Sire de Malétroit’s Door,” “The Merry Men,” “Markheim,” first published in Unwin’s Annual, London, 1885, and included here in full, along with “A Lodging for the Night,” which was first published in The Temple Bar magazine in October 1877.
Stevenson was a supreme craftsman. No writer of the short-story in English, except Edgar Allan Poe, was so conscious of his art and so gifted to create up to the measure of his orderly knowledge. In criticism of the story-teller’s art, Poe was the greater originator, Stevenson the more brilliant generalizer; Poe was the deeper, Stevenson the broader; Poe’s opinions as to form grew largely out of his own consciousness, and shaped his practices—they were arrived at deductively: Stevenson’s[Pg 31] standards grew as his creations shaped themselves, and were measurably molded by his own writings—they were examples of inductive reasoning. Thus Stevenson was doubly equipped to produce incomparably the greatest group of short-stories ever written by a Briton before the days of Kipling, and some sound critics will dispute even this reservation. In charm, in dash of style, in a sense of form, in pure romantic spirit, and in penetrating human interest, Stevenson ranks among the ten greatest short-story-tellers of his era.
Stevenson was a master craftsman. No English short story writer, except Edgar Allan Poe, was as aware of his craft and as talented in realizing his orderly knowledge. In critiquing the storyteller’s art, Poe was the greater innovator, while Stevenson was the more brilliant synthesizer; Poe had deeper insights, and Stevenson had a broader perspective. Poe's views on structure largely stemmed from his own awareness and shaped his writing—they were reached through deduction: Stevenson's standards evolved from his creations and were influenced by his own works—they reflected inductive reasoning. Thus, Stevenson was uniquely equipped to produce the greatest collection of short stories ever written by a Brit before Kipling's time, and some notable critics might even contest this distinction. In terms of charm, stylistic flair, sense of form, pure romantic spirit, and deep human interest, Stevenson ranks among the top ten short story writers of his time.
I wonder if any one had ever more energy upon so little strength?—R. L. Stevenson, Vailima Letters.
I wonder if anyone has ever had more energy with so little strength?—Robert Louis Stevenson, Vailima Letters.
In the highest achievements of the art of words, the dramatic and the pictorial, the moral and romantic interest, rise and fall together by a common and organic law. Situation is animated with passion, passion clothed upon with situation. Neither exists for itself, but each inheres indissolubly with the other. This is high art; and not only the highest art possible in words, but the highest art of all, since it combines the greatest mass and diversity of the elements of truth and pleasure. Such are epics, and the few prose tales that have the epic weight.—R. L. Stevenson, A Gossip on Romance.
In the greatest accomplishments of word art—both dramatic and visual—the moral and romantic elements rise and fall together by a shared and natural law. The situation is filled with emotion, and that emotion is defined by the situation. Neither stands alone; they are inextricably linked. This is true art, not just the highest form of expression through words, but the highest form of art overall, as it combines the largest range and variety of truth and enjoyment. Such are epics, along with the few prose stories that carry the epic weight.—R.L. Stevenson, A Gossip on Romance.
The stories of Stevenson exhibit a double union, as admirable as it is rare. They exhibit the union of splendid material with the most delicate skill in language; and they exhibit the union of thrilling events with a remarkable power of psychological analysis.—William Lyon Phelps, Essays on Modern Novelists.
The stories of Stevenson show a rare and impressive combination. They blend captivating content with exquisite language skills, and they combine exciting events with a remarkable ability for psychological analysis.—William Lyon Phelps, Essays on Modern Novelists.
Mr. Stevenson enjoys the reputation of being the modern representative of the romantic school of fiction. There are others of high repute, for romanticism is now the vogue, but there is hardly any other whose name we would care to link with that of Walter Scott.—William H. Sheran, Handbook of Literary Criticism.
Mr. Stevenson is seen as a key figure of the modern romantic fiction school. There are others with great reputations since romanticism is currently in style, but there’s hardly anyone else we would want to associate with Walter Scott.—William H. Sheran, Handbook of Literary Criticism.
[Pg 32]
[Pg 32]
Perhaps the first quality in Mr. Stevenson’s works, now so many and so various, which strikes a reader, is the buoyancy, the survival of the child in him. He has told the world often, in prose and verse, how vivid are his memories of his own infancy.... The peculiarity of Mr. Stevenson is not only to have been a fantastic child, and to retain, in maturity, that fantasy ripened into imagination: he has also kept up the habit of dramatising everything, of playing, half consciously, many parts, of making the world “an unsubstantial fairy place....” It is the eternal child that drives him to seek adventures and to sojourn among beach-combers and savages.—Andrew Lang, Essays in Little.
Perhaps the first quality in Mr. Stevenson’s works, which are now numerous and diverse, that catches a reader's attention is the buoyancy, the survival of the child within him. He has frequently shared with the world, in both prose and poetry, how vivid his memories of childhood are. The uniqueness of Mr. Stevenson is not only that he was a wonderfully imaginative child and has maintained that fantasy into adulthood, but he also continues the habit of dramatizing everything, playing many roles, and transforming the world into “an unsubstantial fairy place.” It is the eternal child in him that compels him to seek adventures and spend time with beach-combers and savages.—Andrew Lang, Essays in Little.
It has been stated that the finer qualities of Stevenson are called out by the psychological romance on native soil. He did some brilliant and engaging work of foreign setting and motive.... Judged as art, “The Bottle Imp” and “The Beach of Falesa” are among the triumphs of ethnic interpretation, let alone their more external charms of story. And another masterpiece of foreign setting, “A Lodging for the Night,” is further proof of Stevenson’s ability to use other than Scotch motives for the materials of his art.... Few novelists of any race have beaten this wandering Scot in the power of representing character and envisaging it, and there can hardly be successful characterization without this allied power of creating atmosphere.—Richard Burton, Masters of the English Novel.
It’s been said that Stevenson’s best qualities shine through in his stories set in his homeland. He also produced some amazing and captivating works set in foreign places... Judged as art, “The Bottle Imp” and “The Beach of Falesa” are among the successes of cultural interpretation, not to mention their other appealing aspects of storytelling. Another masterpiece with a foreign setting, “A Lodging for the Night,” further demonstrates Stevenson’s skill in using themes beyond just Scottish ones for his work... Few novelists from any background have surpassed this wandering Scot in representing and envisioning character, and successful characterization is hardly possible without this complementary ability to create atmosphere.—Richie Burton, Masters of the English Novel.
Not until 1877, and Robert Louis Stevenson’s first published narrative, does any Englishman of real caliber show both desire and ability to do something new with the short story. This narrative was “A Lodging for the Night,” published in Temple Bar for October.... “A Lodging for the Night” is as clearly and consciously an impressionistic short story as George Meredith’s contemporary novelettes are not of that category; the two stories which followed (“Will o’ the Mill” and “The Sire de Malétroit’s Door”) would assure the most timid critic of our generation that here was a master in this department of fiction.... There is “The Strange Case of Dr. Jekyll and Mr. Hyde,” that short story thrown over into the form of a detective romance.... Or there is “Markheim,” a story less powerful in[Pg 33] execution, but more excellent in workmanship, and an almost ideal example of the impressionistic short story. Flaubert might have written the description of the curiosity shop as the murderer saw it, with its accusing clock-voices, its wavering shadows, from the inner door “a long slit of daylight like a pointing finger.” And Flaubert would have praised the skilful gradation of incident and description, whereby conscience gains and gains in the struggle for Markheim’s mind. But Hawthorne would have been prouder still of the plot—a weak man with a remnant of high ideals suddenly realizing that his curve is plotted and can lead him only downwards.... How like to Hawthorne’s usual way is Stevenson’s determination to make, at all costs, a moral issue the outcome of his story!... “Will o’ the Mill” is like a twice-told tale not only in theme; its whole effect is Hawthornesque. “A Lodging for the Night” has for its kernel a question of ethics.—H. S. Canby, The Short Story in English.
Not until 1877, with Robert Louis Stevenson’s first published story, does any English writer of real talent show both the desire and ability to do something new with the short story. This story was “A Lodging for the Night,” published in Temple Bar in October.... “A Lodging for the Night” is clearly and intentionally an impressionistic short story, while George Meredith’s contemporary novelettes do not fall into that category; the two stories that followed (“Will o’ the Mill” and “The Sire de Malétroit’s Door”) would convince even the most cautious critic of our time that here was a master in this area of fiction.... There is “The Strange Case of Dr. Jekyll and Mr. Hyde,” a short story transformed into a detective romance.... Or then there is “Markheim,” a story that isn’t as powerful in execution but is more excellent in craft, and an almost perfect example of the impressionistic short story. Flaubert might have written the description of the curiosity shop as the murderer saw it, with its accusing clock-voices and flickering shadows, from the inner door “a long slit of daylight like a pointing finger.” And Flaubert would have praised the skillful progression of incidents and descriptions, where conscience gradually gains the upper hand in the struggle for Markheim’s mind. But Hawthorne would have been even prouder of the plot—a weak man with a few remaining high ideals suddenly realizing that his path is already set and can only lead him downwards.... How similar to Hawthorne’s usual approach is Stevenson’s determination to make, at all costs, a moral issue the result of his story!... “Will o’ the Mill” feels like a story told twice, not only in theme; its overall effect is very Hawthornesque. “A Lodging for the Night” centers around a question of ethics.—H.S. Canby, The Short Story in English.
FURTHER REFERENCES FOR READING ON STEVENSON
FURTHER REFERENCES FOR READING ON STEVENSON
Mr. Stevenson’s Methods in Fiction, A. Conan Doyle (1890); Robert Louis Stevenson, An Elegy, Richard Le Gallienne (1895); Robert Louis Stevenson, Walter Raleigh (1895); Vailima Letters, to Sidney Colvin (1895); Adventures in Criticism, A. T. Quiller-Couch (1896); Critical Kit-Kats, Edmund W. Gosse (1896); Studies in Two Literatures, Arthur Symons (1897); Life of Robert Louis Stevenson, Graham Balfour (1901); Stevenson’s Attitude to Life, J. F. Genung (1901); Memories of Vailima, Isobel Strong and Lloyd Osbourne (1903); Robert Louis Stevenson, W. R. Nicoll and G. K. Chesterton.
Mr. Stevenson’s Methods in Fiction, A. Conan Doyle (1890); Robert Louis Stevenson, An Elegy, Richard Le Gallienne (1895); Robert Louis Stevenson, Walter Raleigh (1895); Vailima Letters, to Sidney Colvin (1895); Adventures in Criticism, A. T. Quiller-Couch (1896); Critical Kit-Kats, Edmund W. Gosse (1896); Studies in Two Literatures, Arthur Symons (1897); Life of Robert Louis Stevenson, Graham Balfour (1901); Stevenson’s Attitude to Life, J. F. Genung (1901); Memories of Vailima, Isobel Strong and Lloyd Osbourne (1903); Robert Louis Stevenson, W. R. Nicoll and G. K. Chesterton.
[Pg 34]
[Pg 34]
FOR ANALYSIS
FOR ANALYSIS
A LODGING FOR THE NIGHT
BY ROBERT LOUIS STEVENSON
BY ROBERT LOUIS STEVENSON
It was late in November, 1456. The snow fell over Paris with rigorous, relentless persistence; sometimes the wind made a sally and scattered it in flying vortices; sometimes there was a lull, and flake after flake descended out of the black night air, silent, circuitous, interminable. To poor people, looking up under moist eyebrows, it seemed a wonder where it all came from. Master Francis Villon had propounded an alternative that afternoon, at a tavern window; was it only Pagan Jupiter plucking geese upon Olympus? or were the holy angels moulting? He was only a poor master of arts, he went on; and as the question somewhat touched upon divinity, he durst not venture to conclude. A silly old priest from Montargis, who was among the company, treated the young rascal to a bottle of wine in honor of the jest and grimaces with which it was accompanied, and swore on his own white beard that he had been just such another irreverent dog when he was Villon’s age.
It was late in November, 1456. Snow fell over Paris with fierce, unrelenting persistence; sometimes the wind would gust and send it swirling in flying whirlwinds; other times there would be a break, and flake after flake would drift down from the dark night sky, silent, twisting, endless. To the poor people, gazing up with wet brows, it seemed amazing where it all came from. Master Francis Villon had proposed an alternative that afternoon, at a tavern window; was it just Pagan Jupiter plucking geese on Olympus? or were the holy angels shedding their feathers? He was only a poor master of arts, he continued; and since the question touched on divinity, he didn’t dare to make a conclusion. A silly old priest from Montargis, who was part of the group, treated the young trickster to a bottle of wine in honor of the joke and funny faces that went along with it, and swore on his own white beard that he had been just like that irreverent kid when he was Villon’s age.
2. The air was raw and pointed, but not far below freezing; and the flakes were large, damp, and adhesive. The whole city was sheeted up. An army might have marched from[Pg 35] end to end and not a footfall given the alarm. If there were any belated birds in heaven, they saw the island like a large white patch, and the bridges like slim white spars, on the black ground of the river. High up overhead the snow settled among the tracery of the cathedral towers. Many a niche was drifted full; many a statue wore a long white bonnet on its grotesque or sainted head. The gargoyles had been transformed into great false noses, drooping toward the point. The crockets were like upright pillows swollen on one side. In the intervals of the wind, there was a dull sound of dripping about the precincts of the church.
2. The air was sharp and biting, but not quite freezing; and the snowflakes were big, wet, and sticky. The entire city was covered. An army could have marched from one end to the other without making a sound. If there were any late birds up in the sky, they would have seen the island like a big white patch, and the bridges like thin white lines against the dark ground of the river. High above, the snow settled among the intricate patterns of the cathedral towers. Many nooks were filled with drifts; many statues wore long white caps on their strange or holy heads. The gargoyles had turned into oversized, drooping noses. The crockets looked like pillows standing upright, swollen on one side. In the gaps between gusts of wind, there was a dull sound of dripping around the church.
3. The cemetery of St. John had taken its own share of the snow. All the graves were decently covered; tall white housetops stood around in grave array; worthy burghers were long ago in bed, be-nightcapped like their domiciles; there was no light in all the neighborhood but a little peep from a lamp that hung swinging in the church choir, and tossed the shadows to and fro in time to its oscillations. The clock was hard on ten when the patrol went by with halberds and a lantern, beating their hands; and they saw nothing suspicious about the cemetery of St. John.
3. The cemetery of St. John had collected its share of snow. All the graves were neatly covered; tall white rooftops surrounded the area in somber fashion; respectable townsfolk had long since gone to bed, their nightcaps on like their homes; there was no light in the whole neighborhood except for a small glow from a lamp swinging in the church choir, casting shadows back and forth in rhythm with its movements. It was almost ten o'clock when the patrol passed by with halberds and a lantern, rubbing their hands together for warmth; they noticed nothing unusual about the cemetery of St. John.
4. Yet there was a small house, backed up against the cemetery wall, which was still awake, and awake[Pg 36] to evil purpose, in that snoring district. There was not much to betray it from without; only a stream of warm vapor from the chimney-top, a patch where the snow melted on the roof, and a few half-obliterated footprints at the door. But within, behind the shuttered windows, Master Francis Villon, the poet, and some of the thievish crew with whom he consorted, were keeping the night alive and passing round the bottle.
4. Yet there was a small house, backed up against the cemetery wall, that was still awake, and aware of evil intentions, in that snoring neighborhood. There wasn’t much to give it away from the outside; just a stream of warm vapor from the chimney, a patch where the snow melted on the roof, and a few faded footprints at the door. But inside, behind the shuttered windows, Master Francis Villon, the poet, and some of the shady characters he hung out with were keeping the night lively and passing around the bottle.
5. A great pile of living embers diffused a strong and ruddy glow from the arched chimney. Before this straddled Dom Nicolas, the Picardy monk, with his skirts picked up and his fat legs bared to the comfortable warmth. His dilated shadow cut the room in half; and the firelight only escaped on either side of his broad person, and in a little pool between his outspread feet. His face had the beery, bruised appearance of the continual drinker’s; it was covered with a network of congested veins, purple in ordinary circumstances, but now pale violet, for even with his back to the fire the cold pinched him on the other side. His cowl had half fallen back, and made a strange excrescence on either side of his bull neck. So he straddled, grumbling, and cut the room in half with the shadow of his portly frame.
5. A massive pile of glowing embers cast a strong, warm light from the arched chimney. Sitting in front of it was Dom Nicolas, the Picardy monk, with his robes hiked up and his chubby legs exposed to the cozy heat. His enlarged shadow split the room in two; the firelight only escaped on either side of his broad figure and in a small pool between his splayed feet. His face had that reddish, battered look of a heavy drinker; it was covered with a web of swollen veins, usually purple but now a pale violet, since even with his back to the fire, the cold was nipping at him from the other side. His cowl had partly slipped back, creating an odd bulge on each side of his thick neck. There he sat, grumbling, casting his substantial shadow across the room.
6. On the right, Villon and Guy Tabary were huddled together over a scrap of parchment; Villon making[Pg 37] a ballad which he was to call the “Ballad of Roast Fish,” and Tabary spluttering admiration at his shoulder. The poet was a rag of a man, dark, little, and lean, with hollow cheeks and thin black locks. He carried his four-and-twenty years with feverish animation. Greed had made folds about his eyes, evil smiles had puckered his mouth. The wolf and pig struggled together in his face. It was an eloquent, sharp, ugly, earthly countenance. His hands were small and prehensile, with fingers knotted like a cord; and they were continually flickering in front of him in violent and expressive pantomime. As for Tabary, a broad, complacent, admiring imbecility breathed from his squash nose and slobbering lips: he had become a thief, just as he might have become the most decent of burgesses, by the imperious chance that rules the lives of human geese and human donkeys.
6. On the right, Villon and Guy Tabary were crowded together over a piece of parchment; Villon was writing a ballad he planned to call the “Ballad of Roast Fish,” while Tabary leaned in, spluttering his admiration at his shoulder. The poet was a ragged man, dark, short, and thin, with hollow cheeks and frail black hair. He carried his twenty-four years with frenetic energy. Greed had created creases around his eyes, and evil smirks had etched his mouth. The wolf and the pig fought for dominance on his face. It was a striking, sharp, ugly, earthy expression. His hands were small and dexterous, with fingers twisted like cords; they constantly flickered in front of him with intense and expressive gestures. As for Tabary, a broad, smug, clueless admiration radiated from his bulbous nose and drooling lips: he had turned into a thief, just as he could have easily become the most respectable of citizens, due to the inevitable twists of fate that steer the lives of ordinary people.
7. At the monk’s other hand, Montigny and Thevenin Pensete played a game of chance. About the first there clung some flavor of good birth and training, as about a fallen angel; something long, lithe, and courtly in the person; something aquiline and darkling in the face. Thevenin, poor soul, was in great feather: he had done a good stroke of knavery that afternoon in the Faubourg St. Jacques, and all night he had been gaining from Montigny. A flat smile illuminated his face; his bald head[Pg 38] shone rosily in a garland of red curls; his little protuberant stomach shook with silent chucklings as he swept in his gains.
7. On the other side of the monk, Montigny and Thevenin Pensete were playing a game of chance. There was a touch of noble birth and refinement about Montigny, almost like a fallen angel; he had a long, graceful, and courtly presence, with an aquiline and shadowy face. Thevenin, poor guy, was in high spirits: he had pulled off a clever trick that afternoon in the Faubourg St. Jacques, and all night he had been winning from Montigny. A flat smile lit up his face; his bald head[Pg 38] shone warmly surrounded by a ring of red curls; his little protruding belly shook with silent laughter as he reveled in his winnings.
8. “Doubles or quits?” said Thevenin.
8. “Double or nothing?” said Thevenin.
9. Montigny nodded grimly.
Montigny nodded seriously.
10. “Some may prefer to dine in state,” wrote Villon, “On bread and cheese on silver plate. Or, or—help me out, Guido!”
10. “Some might choose to eat in style,” wrote Villon, “On bread and cheese on a silver plate. Or, or—help me out, Guido!”
11. Tabary giggled.
Tabary laughed.
12. “Or parsley on a golden dish,” scribbled the poet.
12. “Or parsley on a gold plate,” wrote the poet.
13. The wind was freshening without; it drove the snow before it, and sometimes raised its voice in a victorious whoop, and made sepulchral grumblings in the chimney. The cold was growing sharper as the night went on. Villon, protruding his lips, imitated the gust with something between a whistle and a groan. It was an eerie, uncomfortable talent of the poet’s, much detested by the Picardy monk.
13. The wind was picking up outside; it pushed the snow along and occasionally let out a victorious howl, while also creating deep rumbling noises in the chimney. The cold was getting sharper as the night progressed. Villon, puckering his lips, mimicked the gust with a sound that was part whistle and part groan. It was an unsettling and uncomfortable skill of the poet’s, one that was greatly disliked by the Picardy monk.
14. “Can’t you hear it rattle in the gibbet?” said Villon. “They are all dancing the devil’s jig on nothing, up there. You may dance, my gallants, you’ll be none the warmer! Whew! what a gust! Down went somebody just now! A medlar the fewer on the three-legged medlar-tree!—I say, Dom Nicolas, it’ll be cold to-night on the St. Denis Road?” he asked.
14. “Can’t you hear it shaking in the gallows?” said Villon. “They’re all dancing the devil’s jig up there, on empty air. Go ahead and dance, my friends, but you won’t feel any warmer! Wow! What a strong wind! Someone just fell! That’s one less medlar on the three-legged medlar tree!—I’m asking you, Dom Nicolas, is it going to be cold tonight on the St. Denis Road?” he inquired.
15. Dom Nicolas winked both his big eyes, and seemed to choke upon his Adam’s apple. Montfaucon, the[Pg 39] great grisly Paris gibbet, stood hard by the St. Denis Road, and the pleasantry touched him on the raw. As for Tabary, he laughed immoderately over the medlars; he had never heard anything more light-hearted; and he held his sides and crowed. Villon fetched him a fillip on the nose, which turned his mirth into an attack of coughing.
15. Dom Nicolas blinked his big eyes and seemed to choke on his throat. Montfaucon, the grim Paris gallows, stood right by the St. Denis Road, and the joke hit him hard. As for Tabary, he laughed uncontrollably at the medlars; he had never heard anything so cheerful, and he doubled over with laughter. Villon gave him a quick flick on the nose, which turned his laughter into a coughing fit.
16. “Oh, stop that row,” said Villon, “and think of rhymes to ‘fish.’”
16. “Oh, stop that noise,” said Villon, “and come up with rhymes for ‘fish.’”
17. “Doubles or quits,” said Montigny, doggedly.
17. “Double or nothing,” said Montigny, stubbornly.
18. “With all my heart,” quoth Thevenin.
18. “With all my heart,” said Thevenin.
19. “Is there any more in that bottle?” asked the monk.
19. “Is there any left in that bottle?” asked the monk.
20. “Open another,” said Villon. “How do you ever hope to fill that big hogshead, your body, with little things like bottles? And how do you expect to get to heaven? How many angels, do you fancy, can be spared to carry up a single monk from Picardy? Or do you think yourself another Elias—and they’ll send the coach for you?”
20. “Open another,” Villon said. “How do you expect to fill that huge body of yours with tiny things like bottles? And how do you plan to get to heaven? How many angels do you think can take a single monk from Picardy up there? Or do you believe you’re another Elijah, and they’ll send a chariot for you?”
21. “Hominibus impossible,” replied the monk, as he filled his glass.
21. “It's impossible for humans,” replied the monk, as he filled his glass.
22. Tabary was in ecstasies.
22. Tabary was ecstatic.
23. Villon filliped his nose again.
23. Villon flipped his nose again.
24. “Laugh at my jokes, if you like,” he said.
24. “Feel free to laugh at my jokes if you want,” he said.
25. “It was very good,” objected Tabary.
25. "It was really good," argued Tabary.
26. Villon made a face at him. “Think of rhymes to ‘fish,’” he said. “What have you to do with[Pg 40] Latin? You’ll wish you knew none of it at the great assizes, when the devil calls for Guido Tabary, clericus—the devil with the humpback and red-hot finger-nails. Talking of the devil,” he added, in a whisper, “look at Montigny!”
26. Villon made a face at him. “Think of rhymes for ‘fish,’” he said. “What do you care about Latin? You’ll wish you didn’t know any of it at the big trial, when the devil calls for Guido Tabary, cleric—the devil with the hunchback and red-hot fingernails. Speaking of the devil,” he added, in a whisper, “check out Montigny!”
27. All three peered covertly at the gamester. He did not seem to be enjoying his luck. His mouth was a little to a side; one nostril nearly shut, and the other much inflated. The black dog was on his back, as people say in terrifying nursery metaphor; and he breathed hard under the grewsome burden.
27. All three watched the gambler in secret. He didn’t seem to be enjoying his luck. His mouth was slightly crooked; one nostril was almost closed while the other was quite puffed up. The black dog was on his back, as people say in scary children's stories; and he was breathing heavily under the grim weight.
28. “He looks as if he could knife him,” whispered Tabary, with round eyes.
28. “He looks like he could stab him,” whispered Tabary, wide-eyed.
29. The monk shuddered, and turned his face and spread his open hands to the red embers. It was the cold that thus affected Dom Nicolas, and not any excess of moral sensibility.
29. The monk shivered and turned his face, spreading his open hands towards the glowing embers. It was the cold that affected Dom Nicolas this way, not an overabundance of moral sensitivity.
30. “Come, now,” said Villon—“about this ballad. How does it run so far?” And beating time with his hand he read it aloud to Tabary.
30. “Come on,” said Villon, “let’s talk about this ballad. How is it going so far?” And keeping the beat with his hand, he read it aloud to Tabary.
31. They were interrupted at the fourth rhyme by a brief and fatal movement among the gamesters. The round was completed, and Thevenin was just opening his mouth to claim another victory, when Montigny leaped up, swift as an adder, and stabbed him to the heart. The blow took effect before he had time to move. A tremor or two convulsed[Pg 41] his frame; his hands opened and shut, his heels rattled on the floor; then his head rolled backward over one shoulder with the eyes wide open; and Thevenin Pensete’s spirit had returned to Him who gave it.
31. They were interrupted at the fourth rhyme by a quick and deadly action among the players. The round was finished, and Thevenin was just about to open his mouth to declare another victory when Montigny jumped up, as fast as a snake, and stabbed him in the heart. The attack landed before he could even react. A couple of shudders ran through his body; his hands opened and closed, his heels clattered on the floor; then his head tilted back over one shoulder with his eyes wide open; and Thevenin Pensete’s spirit had returned to the one who gave it.
32. Everyone sprung to his feet; but the business was over in two twos. The four living fellows looked at each other in rather a ghastly fashion; the dead man contemplating a corner of the roof with a singular and ugly leer.
32. Everyone jumped to their feet; but the entire thing wrapped up quickly. The four guys looked at each other with a rather spooky expression; the dead man stared at a corner of the roof with a strange and unpleasant grin.
33. “My God!” said Tabary; and he began to pray in Latin.
33. “Oh my God!” said Tabary; and he started to pray in Latin.
34. Villon broke out into hysterical laughter. He came a step forward and ducked a ridiculous bow at Thevenin, and laughed still louder. Then he sat down suddenly, all of a heap, upon a stool, and continued laughing bitterly as though he would shake himself to pieces.
34. Villon burst out laughing hysterically. He stepped forward and gave a silly bow to Thevenin, laughing even louder. Then he suddenly sat down on a stool, collapsing, and kept laughing bitterly as if he might shake himself apart.
35. Montigny recovered his composure first.
35. Montigny was the first to regain his composure.
36. “Let’s see what he has about him,” he remarked; and he picked the dead man’s pockets with a practiced hand, and divided the money into four equal portions on the table. “There’s for you,” he said.
36. “Let’s see what he has on him,” he said, and he skillfully went through the dead man’s pockets, laying out the money into four equal shares on the table. “Here’s your cut,” he said.
37. The monk received his share with a deep sigh, and a single stealthy glance at the dead Thevenin, who was beginning to sink himself and topple sideways off the chair.
37. The monk took his share with a deep sigh and cast a quick, furtive glance at the dead Thevenin, who was starting to slump and fall sideways off the chair.
38. “We’re all in for it,” cried Villon, swallowing his mirth. “It’s a hanging job for every man jack of us[Pg 42] that’s here—not to speak of those who aren’t.” He made a shocking gesture in the air with his raised right hand, and put out his tongue and threw his head on one side, so as to counterfeit the appearance of one who has been hanged. Then he pocketed his share of the spoil, and executed a shuffle with his feet as if to restore the circulation.
38. “We’re all in trouble,” yelled Villon, stifling his laughter. “It’s a death sentence for every one of us here—not to mention those who aren’t.” He made a dramatic gesture with his raised right hand, stuck out his tongue, and tilted his head to mimic someone who has been hanged. Then he put away his part of the loot and shuffled his feet as if trying to get the blood flowing again.[Pg 42]
39. Tabary was the last to help himself; he made a dash at the money, and retired to the other end of the apartment.
39. Tabary was the last to grab some for himself; he lunged for the money and then moved to the other side of the room.
40. Montigny stuck Thevenin upright in the chair, and drew out a dagger, which was followed by a jet of blood.
40. Montigny propped Thevenin up in the chair and pulled out a dagger, which was soon followed by a spray of blood.
41. “You fellows had better be moving,” he said, as he wiped the blade on his victim’s doublet.
41. “You guys should get going,” he said while wiping the blade on his victim’s jacket.
42. “I think we had,” returned Villon, with a great gulp. “Damn his fat head!” he broke out. “It sticks in my throat like phlegm. What right has a man to have red hair when he is dead?” And he fell all of a heap again upon the stool, and fairly covered his face with his hands.
42. “I think we did,” Villon replied, taking a big gulp. “Damn his fat head!” he exclaimed. “It sticks in my throat like phlegm. What right does a man have to have red hair when he’s dead?” Then he slumped back onto the stool, completely covering his face with his hands.
43. Montigny and Dom Nicolas laughed aloud, even Tabary feebly chiming in.
43. Montigny and Dom Nicolas laughed out loud, and even Tabary chimed in weakly.
44. “Cry baby,” said the monk.
44. “Cry baby,” said the monk.
45. “I always said he was a woman,” added Montigny, with a sneer. “Sit up, can’t you?” he went on, giving another shake to the murdered[Pg 43] body. “Tread out that fire, Nick!”
45. “I always said he was a woman,” Montigny said with a sneer. “Can’t you sit up?” he continued, shaking the dead body again. “Put out that fire, Nick!”
46. But Nick was better employed; he was quietly taking Villon’s purse, as the poet sat, limp and trembling, on the stool where he had been making a ballad not three minutes before. Montigny and Tabary dumbly demanded a share of the booty, which the monk silently promised as he passed the little bag into the bosom of his gown. In many ways an artistic nature unfits a man for practical existence.
46. But Nick was better occupied; he was quietly taking Villon’s purse while the poet sat, weak and shaking, on the stool where he had been composing a ballad just three minutes earlier. Montigny and Tabary silently asked for a share of the loot, which the monk quietly promised as he tucked the small bag into the inside of his robe. In many ways, an artistic nature makes it hard for a person to handle practical life.
47. No sooner had the theft been accomplished than Villon shook himself, jumped to his feet, and began helping to scatter and extinguish the embers. Meanwhile Montigny opened the door and cautiously peered into the street. The coast was clear; there was no meddlesome patrol in sight. Still it was judged wiser to slip out severally; and as Villon was himself in a hurry to escape from the neighborhood of the dead Thevenin, and the rest were in a still greater hurry to get rid of him before he should discover the loss of his money, he was the first by general consent to issue forth into the street.
47. As soon as the theft was done, Villon shook himself, jumped to his feet, and started helping to scatter and put out the embers. Meanwhile, Montigny opened the door and carefully looked out into the street. It was clear; there was no annoying patrol in sight. Still, it was considered smarter to slip out one by one; and since Villon was eager to get away from the area of the dead Thevenin, and the others were even more anxious to get rid of him before he noticed his money was missing, he was the first, by everyone's agreement, to step out into the street.
48. The wind had triumphed and swept all the clouds from heaven. Only a few vapors, as thin as moonlight, fleeted rapidly across the stars. It was bitter cold; and by a common optical effect, things seemed almost more definite than in the broadest daylight. The sleeping city was absolutely[Pg 44] still; a company of white hoods, a field full of little alps, below the twinkling stars. Villon cursed his fortune. Would it were still snowing! Now, wherever he went, he left an indelible trail behind him on the glittering streets; wherever he went he was still tethered to the house by the cemetery of St. John; wherever he went he must weave, with his own plodding feet, the rope that bound him to the crime and would bind him to the gallows. The leer of the dead man came back to him with a new significance. He snapped his fingers as if to pluck up his own spirits, and choosing a street at random, stepped boldly forward in the snow.
48. The wind had won and cleared all the clouds from the sky. Only a few wisps, as delicate as moonlight, raced quickly across the stars. It was bitterly cold, and due to a common optical illusion, everything seemed almost clearer than in broad daylight. The sleeping city was completely still; a group of white hoods, a field of tiny peaks, lay below the twinkling stars. Villon cursed his luck. If only it were still snowing! Now, wherever he went, he left a permanent mark behind him on the sparkling streets; no matter where he went, he was still tied to the house by the cemetery of St. John; wherever he went he had to weave, with his own heavy footsteps, the rope that connected him to the crime and would bind him to the gallows. The stare of the dead man came back to him with a new meaning. He snapped his fingers as if to lift his own spirits, and choosing a street at random, stepped boldly forward in the snow.
49. Two things preoccupied him as he went; the aspect of the gallows at Montfaucon in this bright, windy phase of the night’s existence, for one; and for another, the look of the dead man with his bald head and garland of red curls. Both struck cold upon his heart, and he kept quickening his pace as if he could escape from unpleasant thoughts by mere fleetness of foot. Sometimes he looked back over his shoulder with a sudden nervous jerk; but he was the only moving thing in the white streets, except when the wind swooped round a corner and threw up the snow, which was beginning to freeze, in spouts of glittering dust.
49. Two things weighed on his mind as he walked: the sight of the gallows at Montfaucon under the bright, windy night sky, and the image of the dead man with his bald head and a crown of red curls. Both left him feeling cold inside, and he tried to walk faster, hoping he could outrun his unpleasant thoughts. Occasionally, he would glance back over his shoulder with a sudden nervous twitch, but he was the only one moving in the empty white streets, except when the wind rushed around a corner and stirred the snow, which was starting to freeze, into sparkling dust.
50. Suddenly he saw, a long way before him, a black clump and a[Pg 45] couple of lanterns. The clump was in motion, and the lanterns swung as though carried by men walking. It was a patrol. And though it was merely crossing his line of march, he judged it wiser to get out of eyeshot as speedily as he could. He was not in the humor to be challenged, and he was conscious of making a very conspicuous mark upon the snow. Just on his left hand there stood a great hotel, with some turrets and a large porch before the door; it was half-ruinous, he remembered, and had long stood empty; and so he made three steps of it, and jumped into the shelter of the porch. It was pretty dark inside, after the glimmer of the snowy streets, and he was groping forward with outspread hands, when he stumbled over some substance which offered an indescribable mixture of resistances, hard and soft, firm and loose. His heart gave a leap, and he sprung two steps back and stared dreadfully at the obstacle. Then he gave a little laugh of relief. It was only a woman, and she dead. He knelt beside her to make sure upon this latter point. She was freezing cold, and rigid like a stick. A little ragged finery fluttered in the wind about her hair, and her cheeks had been heavily rouged that same afternoon. Her pockets were quite empty; but in her stocking, underneath the garter, Villon found two of the small coins that went by the name of whites. It was[Pg 46] little enough, but it was always something, and the poet was moved with a deep sense of pathos that she should have died before she had spent her money. That seemed to him a dark and pitiful mystery; and he looked from the coins in his hand to the dead woman, and back again to the coins, shaking his head over the riddle of man’s life.
50. Suddenly, he spotted a dark shape up ahead, along with a couple of lanterns. The shape was moving, and the lanterns swayed as if they were being carried by walking men. It was a patrol. Even though it was just crossing his path, he figured it was smarter to stay out of sight as quickly as possible. He wasn’t in the mood to be stopped, and he was aware that he was leaving a noticeable mark on the snow. To his left stood a large hotel, complete with turrets and a big porch out front; he remembered it was partly ruined and had been empty for a long time. So, he took three quick steps and jumped into the shelter of the porch. It was pretty dark inside compared to the bright snowy streets, and as he reached out with his hands, he tripped over something that felt like a strange mix of hard and soft, firm and loose. His heart raced, and he stepped back two paces, staring at the obstacle in fear. Then he let out a small laugh of relief. It was just a woman, and she was dead. He knelt beside her to confirm that. She was icy cold and stiff like a board. A bit of tattered finery danced in the wind around her hair, and her cheeks were heavily rouged from that same afternoon. Her pockets were completely empty, but he found two small coins, known as whites, tucked away in her stocking beneath the garter. It wasn’t much, but it was better than nothing, and he felt a deep sense of sorrow that she had died before spending her money. That seemed to him a dark and tragic mystery; he looked from the coins in his hand to the dead woman, then back at the coins, shaking his head at the puzzle of human existence.
51. Henry V. of England, dying at Vincennes just after he had conquered France, and this poor jade cut off by a cold draught in a great man’s doorway, before she had time to spend her couple of whites—it seemed a cruel way to carry on the world. Two whites would have taken such a little while to squander; and yet it would have been one more good taste in the mouth, one more smack of the lips, before the devil got the soul, and the body was left to birds and vermin. He would like to use all his tallow before the light was blown out and the lantern broken.
51. Henry V of England died at Vincennes right after he had conquered France, and this poor horse was taken out by a cold draft in a powerful man’s doorway, before she had the chance to spend her couple of coins—it felt like a harsh way to go about life. Two coins would have only taken a moment to waste; and yet it would have added one more good taste in the mouth, one more lick of the lips, before the devil claimed the soul, and the body was left for birds and pests. He wanted to use all his wax before the light went out and the lantern was broken.
52. While these thoughts were passing through his mind, he was feeling, half mechanically, for his purse. Suddenly his heart stopped beating; a feeling of cold scales passed up the back of his legs, and a cold blow seemed to fall upon his scalp. He stood petrified for a moment; then he felt again with one feverish movement; and then his loss burst upon him, and he was covered at once with perspiration. To spend-thrifts[Pg 47] money is so living and actual—it is such a thin veil between them and their pleasures! There is only one limit to their fortune—that of time; and a spendthrift with only a few crowns is the Emperor of Rome until they are spent. For such a person to lose his money is to suffer the most shocking reverse, and fall from heaven to hell, from all to nothing, in a breath. And all the more if he has put his head in the halter for it; if he may be hanged to-morrow for that same purse, so dearly earned, so foolishly departed! Villon stood and cursed; he threw the two whites into the street; he shook his fist at heaven; he stamped, and was not horrified to find himself trampling the poor corpse. Then he began rapidly to retrace his steps toward the house beside the cemetery. He had forgotten all fear of the patrol, which was long gone by at any rate, and had no idea but that of his lost purse. It was in vain that he looked right and left upon the snow; nothing was to be seen. He had not dropped it in the streets. Had it fallen in the house? He would have liked dearly to go in and see; but the idea of the grisly occupant unmanned him. And he saw besides, as he drew near, that their efforts to put out the fire had been unsuccessful; on the contrary, it had broken into a blaze, and a changeful light played in the chinks of door and window, and revived his terror[Pg 48] for the authorities and Paris gibbet.
52. While these thoughts raced through his mind, he was absently reaching for his wallet. Suddenly, his heart stopped; a chill ran up the back of his legs, and a cold sensation seemed to hit the top of his head. He stood frozen for a moment; then he hurriedly searched again, and the realization of his loss hit him, causing him to break out in a sweat. For spendthrifts, money feels so alive and real—it’s just a thin layer separating them from their pleasures! The only limit to their wealth is time; a spendthrift with just a few coins feels like the Emperor of Rome until they’re gone. For someone like that to lose their money is to face a shocking downfall, plunging from heaven to hell, from everything to nothing, in an instant. Especially if they’ve put everything on the line for it; if they could be hanged tomorrow for that very wallet, so hard-earned and so foolishly lost! Villon stood there cursing; he tossed the two coins into the street; he shook his fist at the sky; he stomped, not even shocked to realize he was stepping over a poor corpse. Then he quickly turned back toward the house by the cemetery. He had forgotten all fear of the patrol, which had long since passed by anyway, and only thought about his lost wallet. It was pointless to glance around at the snow; there was nothing to see. He hadn’t dropped it on the street. Had it fallen inside the house? He desperately wanted to go in and check; but the thought of the grim occupant made him uneasy. And he saw as he approached that their efforts to extinguish the fire had failed; instead, it had flared up, casting a flickering light through the cracks of the doors and windows, reviving his fear of the authorities and the Paris gallows.
53. He returned to the hotel with the porch, and groped about upon the snow for the money he had thrown away in his childish passion. But he could only find one white; the other had probably struck sideways and sunk deeply in. With a single white in his pocket, all his projects for a rousing night in some wild tavern vanished utterly away. And it was not only pleasure that fled laughing from his grasp; positive discomfort, positive pain, attacked him as he stood ruefully before the porch. His perspiration had dried upon him, and although the wind had now fallen, a binding frost was setting in stronger with every hour, and he felt benumbed and sick at heart. What was to be done? Late as was the hour, improbable as was success, he would try the house of his adopted father, the chaplain of St. Benoit.
53. He went back to the hotel with the porch and searched through the snow for the money he had tossed aside in a fit of childish passion. But he could only find one bill; the other must have flown off to the side and sunk deep. With just one bill in his pocket, all his plans for an exciting night at some wild bar completely disappeared. And it wasn’t just fun that slipped away from him; he was also hit with real discomfort and pain as he stood there sadly in front of the porch. His sweat had dried on him, and even though the wind had died down, a biting frost was setting in stronger with each hour, leaving him feeling numb and disheartened. What was he to do? Despite the late hour and the slim chance of success, he decided to try the house of his adopted father, the chaplain of St. Benoit.
54. He ran there all the way, and knocked timidly. There was no answer. He knocked again and again, taking heart with every stroke; and at last steps were heard approaching from within. A barred wicket fell open in the iron-studded door, and emitted a gush of yellow light.
54. He ran all the way there and knocked nervously. There was no answer. He knocked again and again, gaining confidence with each hit; finally, footsteps were heard coming from inside. A barred window opened in the iron-studded door, spilling out a rush of yellow light.
55. “Hold up your face to the wicket,” said the chaplain, from within.
55. “Hold your face up to the window,” said the chaplain from inside.
56. “It’s only me,” whimpered Villon.
56. “It’s just me,” Villon said softly.
[Pg 49]
[Pg 49]
57. “Oh, it’s only you, is it?” returned the chaplain; and he cursed him with foul unpriestly oaths for disturbing him at such an hour, and bade him be off to hell, where he came from.
57. “Oh, it’s just you?” the chaplain replied, cursing him with crude, unpriestly swear words for interrupting him at that hour and telling him to go back to hell where he came from.
58. “My hands are blue to the wrist,” pleaded Villon; “my feet are dead and full of twinges; my nose aches with the sharp air; the cold lies at my heart. I may be dead before morning. Only this once, father, and before God, I will never ask again!”
58. “My hands are blue up to my wrists,” Villon pleaded; “my feet are numb and full of pain; my nose hurts from the cold air; the chill is in my heart. I might be dead before morning. Just this once, father, and I swear to God, I’ll never ask again!”
59. “You should have come earlier,” said the ecclesiastic coolly. “Young men require a lesson now and then.” He shut the wicket and retired deliberately into the interior of the house.
59. “You should have come earlier,” said the priest casually. “Young men need a lesson every now and then.” He closed the gate and walked purposefully into the house.
60. Villon was beside himself; he beat upon the door with his hands and feet, and shouted hoarsely after the chaplain.
60. Villon was frantic; he pounded on the door with his hands and feet and shouted hoarsely after the chaplain.
61. “Wormy old fox!” he cried. “If I had my hand under your twist, I would send you flying headlong into the bottomless pit.”
61. “Wormy old fox!” he shouted. “If I could get my hand on your tail, I’d send you flying straight into the abyss.”
62. A door shut in the interior, faintly audible to the poet down long passages. He passed his hand over his mouth with an oath. And then the humor of the situation struck him, and he laughed and looked lightly up to heaven, where the stars seemed to be winking over his discomfiture.
62. A door closed inside, barely heard by the poet down the long hallways. He swore under his breath and ran his hand over his mouth. Then the irony of the situation hit him, and he laughed, glancing playfully up to the sky, where the stars seemed to be winking at his embarrassment.
63. What was to be done? It looked very like a night in the frosty[Pg 50] streets. The idea of the dead woman popped into his imagination, and gave him a hearty fright; what had happened to her in the early night might very well happen to him before morning. And he so young! and with such immense possibilities of disorderly amusement before him! He felt quite pathetic over the notion of his own fate, as if it had been some one else’s, and made a little imaginative vignette of the scene in the morning when they should find his body.
63. What should he do? It felt a lot like a night in the cold streets. The thought of the dead woman flashed into his mind and scared him quite a bit; what had happened to her earlier might easily happen to him before morning. And he was so young! With so many exciting possibilities for wild fun ahead of him! He felt a bit sad about his own fate, as if it were someone else's, and created a little imaginative scene in his mind for the morning when they would find his body.
64. He passed all his chances under review, turning the white between his thumb and forefinger. Unfortunately he was on bad terms with some old friends who would once have taken pity on him in such a plight. He had lampooned them in verses; he had beaten and cheated them; and yet now, when he was in so close a pinch, he thought there was at least one who might perhaps relent. It was a chance. It was worth trying at least, and he would go and see.
64. He reviewed all his options, rolling the coin between his thumb and forefinger. Unfortunately, he was on bad terms with some old friends who would have once helped him out in this situation. He had mocked them in poems; he had tricked and hurt them; and yet now, when he was in such a tight spot, he thought there might be at least one who could possibly show some mercy. It was a chance. It was worth a try, and he decided to go and see.
65. On the way two little accidents happened to him which colored his musings in a very different manner. For, first he fell in with the track of a patrol, and walked in it for some hundred yards, although it lay out of his direction. And this spirited him up; at least he had confused his trail; for he was still possessed with the idea of people tracking him all about Paris over the snow, and collaring[Pg 51] him next morning before he was awake. The other matter affected him quite differently. He passed a street corner, where, not so long before, a woman and her child had been devoured by wolves. This was just the kind of weather, he reflected, when wolves might take it into their heads to enter Paris again; and a lone man in these deserted streets would run the chance of something worse than a mere scare. He stopped and looked upon the place with an unpleasant interest—it was a center where several lanes intersected each other; and he looked down them all, one after another, and held his breath to listen, lest he should detect some galloping black things on the snow or hear the sound of howling between him and the river. He remembered his mother telling him the story and pointing out the spot, while he was yet a child. His mother! If he only knew where she lived, he might make sure at least of shelter. He determined he would inquire upon the morrow; nay, he would go and see her too, poor old girl! So thinking, he arrived at his destination—his last hope for the night.
65. On his way, two small incidents happened that changed his thoughts. First, he stumbled onto a patrol's track and followed it for a few hundred yards, even though it was taking him off course. This gave him a bit of confidence; at least he had thrown them off his trail because he was still worried about people tracking him throughout Paris in the snow and catching him the next morning before he woke up. The second incident affected him very differently. He passed a street corner where, not long ago, a woman and her child had been attacked by wolves. He thought about how this was exactly the kind of weather that might drive wolves to enter Paris again; a lone man on these empty streets could face something worse than just a scare. He stopped and looked at the spot with discomfort—it was a hub where several roads met. He peered down each of them one by one and held his breath, straining to listen for any rushing dark figures on the snow or the sound of howling between him and the river. He recalled his mother telling him the story and pointing out the location when he was a child. His mother! If only he knew where she lived, at least he could find shelter. He decided he would ask about her tomorrow; in fact, he would go and see her too, the poor old thing! With these thoughts in mind, he reached his destination—his last hope for the night.
66. The house was quite dark, like its neighbors; and yet after a few taps, he heard a movement overhead, a door opening, and a cautious voice asking who was there. The poet named himself in a loud whisper, and waited, not without some trepidation,[Pg 52] the result. Nor had he to wait long. A window was suddenly opened, and a pailful of slops splashed down upon the doorstep. Villon had not been unprepared for something of the sort, and had put himself as much in shelter as the nature of the porch admitted; but for all that, he was deplorably drenched below the waist. His hose began to freeze almost at once. Death from cold and exposure stared him in the face; he remembered he was of phthisical tendency, and began coughing tentatively. But the gravity of the danger steadied his nerves. He stopped a few hundred yards from the door where he had been so rudely used, and reflected with his nose. He could only see one way of getting a lodging, and that was to take it. He had noticed a house not far away, which looked as if it might be easily broken into, and thither he betook himself promptly, entertaining himself on the way with the idea of a room still hot, with a table still loaded with the remains of supper, where he might pass the rest of the black hours and whence he should issue, on the morrow, with an armful of valuable plate. He even considered on what viands and what wines he should prefer; and as he was calling the roll of his favorite dainties, roast fish presented itself to his mind with an odd mixture of amusement and horror.
66. The house was pretty dark, just like its neighbors; but after a few knocks, he heard movement upstairs, a door opening, and a cautious voice asking who was there. The poet whispered his name and waited, feeling a bit anxious about what would happen next. He didn’t have to wait long. Suddenly, a window opened, and a bucket full of slop splashed down onto the doorstep. Villon had expected something like this and had positioned himself as best as he could to avoid it, but he still ended up soaked below the waist. His legs started to freeze almost immediately. Death from cold and exposure was looming over him; he remembered he had a fragile constitution and began to cough lightly. But the seriousness of the situation steadied his nerves. He stopped a few hundred yards from the door where he had been so roughly treated and thought about his next move. He realized there was only one way to find shelter, and that was to take it. He spotted a house not far away that looked like it could be easily broken into, and he headed straight for it, entertaining himself with thoughts of a warm room, a table still piled with leftovers from supper, where he could spend the rest of the night and emerge the next morning with an armful of valuable plates. He even thought about what food and wines he'd prefer; and while he listed his favorite delicacies, the idea of roast fish popped into his mind, mixing amusement with a sense of dread.
67. “I shall never finish that ballad,” he thought to himself; and then,[Pg 53] with another shudder at the recollection, “Oh, damn his fat head!” he repeated fervently, and spat upon the snow.
67. “I’ll never finish that ballad,” he thought to himself; and then,[Pg 53] with another shudder at the memory, “Oh, damn his fat head!” he repeated passionately, and spat onto the snow.
68. The house in question looked dark at first sight; but as Villon made a preliminary inspection in search of the handiest point of attack, a little twinkle of light caught his eye from behind a curtained window.
68. The house looked dark at first glance, but as Villon began a quick search for the easiest way to break in, a small glimmer of light caught his eye through a curtained window.
69. “The devil!” he thought. “People awake! Some student or some saint, confound the crew! Can’t they get drunk and lie in bed snoring like their neighbors! What’s the good of curfew, and poor devils of bellringers jumping at a rope’s end in bell-towers? What’s the use of day, if people sit up all night! The gripes to them!” He grinned as he saw where his logic was leading him. “Every man to his business, after all,” added he, “and if they’re awake, by the Lord, I may come by a supper honestly for once, and cheat the devil.”
69. “The devil!” he thought. “People wake up! Some student or some saint, damn the lot of them! Can’t they just get drunk and sleep in like their neighbors? What’s the point of curfew, and those poor bell ringers jumping around in the bell towers? What’s the use of the day if people are up all night? The nerve of them!” He grinned as he realized where his thoughts were taking him. “Every man to his own business, after all,” he added, “and if they’re awake, by God, I might actually get a meal honestly for once and outsmart the devil.”
70. He went boldly to the door and knocked with an assured hand. On both previous occasions, he had knocked timidly and with some dread of attracting notice; but now, when he had just discarded the thought of a burglarious entry, knocking at a door seemed a mighty simple and innocent proceeding. The sound of his blows echoed through the house with thin, phantasmal reverberations, as though the house were empty; but these had scarcely died away before[Pg 54] a measured tread drew near, a couple of bolts were withdrawn, and one wing was opened broadly, as though no guile or fear of guile were known to those within. A tall figure of a man, muscular and spare, but a little bent, confronted Villon. The head was massive in bulk, but finely sculptured; the nose blunt at the bottom, but refining upward to where it joined a pair of strong and honest eyebrows; the mouth and eyes surrounded with delicate markings, and the whole face based upon a thick white beard, boldly and squarely trimmed. Seen as it was by the light of a flickering hand-lamp, it looked, perhaps, nobler than it had a right to do; but it was a fine face, honorable rather than intelligent, strong, simple, and righteous.
70. He confidently approached the door and knocked with a steady hand. On both previous occasions, he had knocked nervously, worried about drawing attention; but now, having just put aside any thoughts of breaking in, knocking on a door felt remarkably straightforward and innocent. The sound of his knocks echoed through the house with faint, ghostly reverberations, as if it were empty; but those sounds had hardly faded away when[Pg 54] a measured step approached, a couple of bolts were slid back, and one door swung wide open, as if those inside knew no deceit or fear of it. A tall man appeared, muscular and lean but slightly stooped, facing Villon. His head was large but elegantly shaped; his nose was blunt at the tip but tapered upward to meet a pair of strong, honest eyebrows; his mouth and eyes were framed with delicate lines, and his entire face was set upon a thick, well-groomed white beard. Seen in the light of a flickering lantern, it looked perhaps more noble than it warranted; but it was a fine face—more honorable than clever, strong, straightforward, and just.
71. “You knock late, sir,” said the old man, in resonant, courteous tones.
71. “You’re knocking late, sir,” said the old man, in warm, polite tones.
72. Villon cringed, and brought up many servile words of apology; at a crisis of this sort, the beggar was uppermost in him, and the man of genius hid his head with confusion.
72. Villon recoiled and threw out numerous submissive apologies; in a moment like this, the beggar in him took over, and the man of talent felt overwhelmed with shame.
73. “You are cold,” repeated the old man, “and hungry? Well, step in.” And he ordered him into the house with a noble enough gesture.
73. "You're cold," the old man said again, "and hungry? Well, come in." He waved him into the house with a grand gesture.
74. “Some great seigneur,” thought Villon, as his host, setting down the lamp on the flagged pavement of the entry, shot the bolts once more into their places.
74. “Some great lord,” thought Villon, as his host, placing the lamp down on the tiled floor of the entry, locked the bolts back into place.
75. “You will pardon me if I go in front,” he said, when this was done;[Pg 55] and he preceded the poet up-stairs into a large apartment, warmed with a pan of charcoal and lit by a great lamp hanging from the roof. It was very bare of furniture; only some gold plate on a sideboard; some folios; and a stand of armor between the windows. Some smart tapestry hung upon the walls, representing the crucifixion of our Lord in one piece, and in another a scene of shepherds and shepherdesses by a running stream. Over the chimney was a shield of arms.
75. “Please excuse me if I go ahead,” he said after this was done;[Pg 55] and he led the poet upstairs into a large room, heated with a charcoal pan and lit by a big lamp hanging from the ceiling. The room was quite sparse in furniture; there was just some gold plate on a sideboard, a few folios, and a suit of armor standing between the windows. Some elegant tapestries adorned the walls, one depicting the crucifixion of our Lord and another showing a scene of shepherds and shepherdesses by a flowing stream. Above the fireplace was a coat of arms.
76. “Will you seat yourself,” said the old man, “and forgive me if I leave you? I am alone in my house to-night, and if you are to eat I must forage for you myself.”
76. “Please, have a seat,” said the old man, “and excuse me if I leave you for a moment? I’m alone in the house tonight, and if you’re going to eat, I need to gather some food for you myself.”
77. No sooner was his host gone than Villon leaped from the chair on which he had just seated himself, and began examining the room, with the stealth and passion of a cat. He weighed the gold flagons in his hand, opened all the folios, and investigated the arms upon the shield, and the stuff with which the seats were lined. He raised the window curtains, and saw that the windows were set with rich stained glass in figures, so far as he could see, of martial import. Then he stood in the middle of the room, drew a long breath, and, retaining it with puffed cheeks, looked round and round him, turning on his heels, as if to impress every feature of the apartment on his memory.
77. As soon as his host left, Villon jumped off the chair he had just sat in and started checking out the room, moving with the quiet intensity of a cat. He weighed the gold goblets in his hand, opened all the books, and examined the designs on the shield, as well as the fabric on the seats. He pulled back the window curtains and noticed that the windows were adorned with intricate stained glass, depicting what appeared to be scenes of battle. Then he stood in the middle of the room, took a deep breath, and, keeping his cheeks puffed out, looked around, turning on his heels as if to memorize every detail of the space.
78. “Seven pieces of plate,” he[Pg 56] said. “If there had been ten, I would have risked it. A fine house, and a fine old master, so help me all the saints!”
78. “Seven plates,” he[Pg 56] said. “If there had been ten, I would have gone for it. A nice house, and a great old master, I swear on all the saints!”
79. And just then, hearing the old man’s tread returning along the corridor, he stole back to his chair, and began humbly toasting his wet legs before the charcoal pan.
79. And just then, hearing the old man's footsteps coming down the hallway, he quickly returned to his chair and started to humbly toast his wet legs in front of the charcoal pan.
80. His entertainer had a plate of meat in one hand and a jug of wine in the other. He sat down the plate upon the table, motioning Villon to draw in his chair, and, going to the sideboard, brought back two goblets, which he filled.
80. His entertainer had a plate of meat in one hand and a jug of wine in the other. He set the plate down on the table, signaling for Villon to pull in his chair, and, going to the sideboard, brought back two goblets, which he filled.
81. “I drink your better fortune,” he said, gravely touching Villon’s cup with his own.
81. “I raise my glass to your good luck,” he said, seriously tapping Villon’s cup with his own.
82. “To our better acquaintance,” said the poet, growing bold. A mere man of the people would have been awed by the courtesy of the old seigneur, but Villon was hardened in that matter; he had made mirth for great lords before now, and found them as black rascals as himself. And so he devoted himself to the viands with a ravenous gusto, while the old man, leaning backward, watched him with steady, curious eyes.
82. “To getting to know each other better,” said the poet, feeling brave. A regular guy would have been intimidated by the old nobleman’s politeness, but Villon was used to it; he had entertained powerful lords before and discovered they were just as shady as he was. So he dug into the food with a hungry enthusiasm, while the old man leaned back, watching him with steady, curious eyes.
83. “You have blood on your shoulder, my man,” he said.
83. “You’ve got blood on your shoulder, buddy,” he said.
84. Montigny must have laid his wet right hand upon him as he left the house. He cursed Montigny in his heart.
84. Montigny must have placed his wet right hand on him as he left the house. He silently cursed Montigny.
85. “It was none of my shedding,” he stammered.
85. “It wasn’t anything I did,” he stammered.
[Pg 57]
[Pg 57]
86. “I had not supposed so,” returned his host, quietly. “A brawl?”
86. "I didn't think that was the case," replied his host calmly. "A fight?"
87. “Well, something of that sort,” Villon admitted with a quaver.
87. “Well, something like that,” Villon admitted, a bit shaky.
88. “Perhaps a fellow murdered?”
"Maybe a peer was murdered?"
89. “Oh, no, not murdered,” said the poet, more and more confused. “It was all fair play—murdered by accident. I had no hand in it, God strike me dead!” he added, fervently.
89. “Oh, no, not murdered,” said the poet, getting more and more confused. “It was all fair play—an accidental murder. I had nothing to do with it, I swear!” he added, earnestly.
90. “One rogue the fewer, I dare say,” observed the master of the house.
90. “One less troublemaker, I suppose,” commented the head of the house.
91. “You may dare to say that,” agreed Villon, infinitely relieved. “As big a rogue as there is between here and Jerusalem. He turned up his toes like a lamb. But it was a nasty thing to look at. I dare say you’ve seen dead men in your time, my lord?” he added, glancing at the armor.
91. “You can definitely say that,” agreed Villon, feeling a huge sense of relief. “He was as big a rogue as they come, from here to Jerusalem. He kicked the bucket just like a lamb. But it was really unpleasant to see. I bet you’ve seen dead men before, my lord?” he added, looking at the armor.
92. “Many,” said the old man. “I have followed the wars, as you imagine.”
92. “Many,” said the old man. “I’ve been through the wars, as you might think.”
93. Villon laid down his knife and fork, which he had just taken up again.
93. Villon put down his knife and fork, which he had just picked up again.
94. “Were any of them bald?” he asked.
94. “Were any of them bald?” he asked.
95. “Oh, yes, and with hair as white as mine.”
95. “Oh, yes, and with hair as white as mine.”
96. “I don’t think I should mind the white so much,” said Villon. “His was red.” And he had a return of his shuddering and tendency to laughter, which he drowned with a great draught of wine. “I’m a little[Pg 58] put out when I think of it,” he went on. “I knew him—damn him! And then the cold gives a man fancies—or the fancies give a man cold, I don’t know which.”
96. “I don’t think I should care about the white so much,” said Villon. “His was red.” And he felt a wave of shivers and an urge to laugh, which he drowned with a big gulp of wine. “I get a bit unsettled when I think about it,” he continued. “I knew him—damn him! And then the cold gives a person crazy thoughts—or the crazy thoughts give a person cold, I don’t know which.”
97. “Have you any money?” asked the old man.
97. “Do you have any money?” the old man asked.
98. “I have one white,” returned the poet, laughing. “I got it out of a dead jade’s stocking in a porch. She was as dead as Cæsar, poor wench, and as cold as a church, with bits of ribbon sticking in her hair. This is a hard world in winter for wolves and wenches and poor rogues like me.”
98. “I have one white,” the poet replied with a laugh. “I found it in a dead woman’s stocking on a porch. She was as dead as Caesar, poor girl, and as cold as a church, with bits of ribbon stuck in her hair. This world is tough in the winter for wolves, women, and poor guys like me.”
99. “I,” said the old man, “am Enguerrand de la Feuillee, seigneur de Brisetout, bailly du Patatrac. Who and what may you be?”
99. “I,” said the old man, “am Enguerrand de la Feuillee, lord of Brisetout, bailiff of Patatrac. Who are you and what are you doing here?”
100. Villon rose and made a suitable reverence. “I am called Francis Villon,” he said, “a poor master of arts in this university. I know some Latin, and a deal of vice. I can make chansons, ballads, lais, virelais, and roundels and I am very fond of wine. I was born in a garret and I shall not improbably die upon the gallows. I may add, my lord, that from this night forward I am your lordship’s very obsequious servant to command.”
100. Villon stood up and bowed respectfully. “I’m Francis Villon,” he said, “a struggling arts student at this university. I know a bit of Latin and a lot of mischief. I can write songs, ballads, lays, virelais, and roundels, and I really enjoy wine. I was born in a attic, and it’s likely that I’ll die on the gallows. I should add, my lord, that starting tonight, I am your lordship’s very devoted servant at your service.”
101. “No servant of mine,” said the knight; “my guest for this evening, and no more.”
101. “Not a servant of mine,” said the knight; “just my guest for tonight, and that’s it.”
102. “A very grateful guest,” said Villon, politely, and he drank in dumb show to his entertainer.
102. “A very grateful guest,” Villon said politely, and he silently toasted to his host.
[Pg 59]
[Pg 59]
103. “You are shrewd,” began the old man, tapping his forehead, “very shrewd; you have learning; you are a clerk; and yet you take a small piece of money off a dead woman in the street. Is it not a kind of theft?”
103. "You're pretty clever," the old man started, tapping his forehead, "really clever; you have education; you're a clerk; and yet you take a small amount of money from a dead woman in the street. Isn't that a sort of theft?"
104. “It is a kind of theft much practiced in the wars, my lord.”
104. “It's a type of theft that's common during wars, my lord.”
105. “The wars are the field of honor,” returned the old man, proudly. “There a man plays his life upon the cast; he fights in the name of his lord the king, his Lord God, and all their lordships the holy saints and angels.”
105. “Wars are the battlefield of honor,” the old man responded, proudly. “There, a man wagers his life; he fights for his lord the king, his Lord God, and all their holy saints and angels.”
106. “Put it,” said Villon, “that I were really a thief, should I not play my life also, and against heavier odds?”
106. “Imagine,” said Villon, “if I were actually a thief, wouldn’t I be risking my life too, and against tougher challenges?”
107. “For gain, but not for honor.”
107. “For profit, but not for prestige.”
108. “Gain?” repeated Villon, with a shrug. “Gain! The poor fellow wants supper, and takes it. So does the soldier in a campaign. Why, what are all these requisitions we hear so much about? If they are not gain to those who take them, they are loss enough to the others. The men-at-arms drink by a good fire, while the burgher bites his nails to buy them wine and wood. I have seen a good many plowmen swinging on trees about the country; ay, I have seen thirty on one elm, and a very poor figure they made; and when I asked some one how all these came to be hanged, I was told it was because they could not scrape together[Pg 60] enough crowns to satisfy the men-at-arms.”
108. “Gain?” Villon repeated with a shrug. “Gain! The poor guy needs dinner, so he takes it. Just like the soldier on campaign. What are all these requisitions we hear so much about? If they're not a benefit to those who take them, they're a loss to everyone else. The men-at-arms enjoy drinks by a nice fire while the townsfolk are left biting their nails to buy them wine and wood. I've seen plenty of plowmen hanging from trees around the countryside; in fact, I saw thirty on one elm, and they looked pretty pathetic. When I asked someone how they all ended up hanging, I was told it was because they couldn't gather enough coins to please the men-at-arms.”
109. “These things are a necessity of war, which the low-born must endure with constancy. It is true that some captains drive overhard; there are spirits in every rank not easily moved by pity; and indeed many follow arms who are no better than brigands.”
109. “These are the harsh realities of war that those from humble backgrounds must endure with resilience. It's true that some leaders are excessively harsh; there are people in every rank who are not easily swayed by compassion; and in fact, many who take up arms are no better than thieves.”
110. “You see,” said the poet, “you cannot separate the soldier from the brigand; and what is a thief but an isolated brigand with circumspect manners? I steal a couple of mutton chops, without so much as disturbing people’s sleep; the farmer grumbles a bit, but sups none the less wholesomely on what remains. You come up blowing gloriously on a trumpet, take away the whole sheep, and beat the farmer pitifully into the bargain. I have no trumpet; I am only Tom, Dick, or Harry; I am a rogue and a dog, and hanging’s too good for me—with all my heart; but just ask the farmer which of us he prefers, just find out which of us he lies awake to curse on cold nights.”
110. “You see,” said the poet, “you can’t separate the soldier from the thief; and what is a thief but a lone bandit who knows how to act politely? I take a couple of mutton chops without waking anyone up; the farmer grumbles a bit, but he still enjoys a decent meal with what’s left. You come in blasting on a trumpet, take the whole sheep, and beat the farmer up in the process. I don’t have a trumpet; I’m just an ordinary guy, a rogue and a scoundrel, and honestly, I deserve to be hanged; but just ask the farmer who he’d rather deal with, just see who he lies awake cursing on cold nights.”
111. “Look at us two,” said his lordship. “I am old, strong, and honored. If I were turned from my house to-morrow, hundreds would be proud to shelter me. Poor people would go out and pass the night in the streets with their children, if I merely hinted that I wished to be alone. And I find you up, wandering homeless, and picking farthings off[Pg 61] dead women by the wayside! I fear no man and nothing; I have seen you tremble and lose countenance at a word. I wait God’s summons contentedly in my own house, or, if it please the king to call me out again, upon the field of battle. You look for the gallows; a rough, swift death, without hope or honor. Is there no difference between these two?”
111. “Look at us,” his lordship said. “I’m old, strong, and respected. If I were kicked out of my house tomorrow, hundreds would be eager to take me in. Poor folks would spend the night outside with their kids, just because I hinted that I wanted to be alone. And here you are, wandering aimlessly, homeless, picking coins off dead women by the road! I’m not afraid of anyone or anything; I’ve seen you flinch and lose your composure at just a word. I wait for God’s call peacefully in my own home, or if the king wants me back on the battlefield, I’m ready for that too. But you’re just waiting for the gallows—a rough, quick death with no hope or glory. Isn’t there a difference between us?”
112. “As far as to the moon,” Villon acquiesced. “But if I had been born Lord of Brisetout, and you had been the poor scholar Francis, would the difference have been any the less? Should I not have been warming my knees at this charcoal pan, and would not you have been groping for farthings in the snow? Should not I have been the soldier and you the thief?”
112. “As far as to the moon,” Villon agreed. “But if I had been born Lord of Brisetout, and you had been the poor scholar Francis, would the difference have been any less? Wouldn't I have been warming my knees at this charcoal pan, and wouldn't you have been searching for coins in the snow? Shouldn't I have been the soldier and you the thief?”
113. “A thief?” cried the old man. “I a thief! If you understood your words you would repent them.”
113. “A thief?” exclaimed the old man. “Me a thief! If you really understood what you were saying, you would regret it.”
114. Villon turned out his hands with a gesture of inimitable impudence. “If your lordship had done me the honor to follow my argument!” he said.
114. Villon raised his hands with a uniquely bold gesture. “If you had deigned to follow my reasoning!” he said.
115. “I do you too much honor in submitting to your presence,” said the knight. “Learn to curb your tongue when you speak with old and honorable men, or some one hastier than I may reprove you in a sharper fashion.” And he rose and paced the lower end of the apartment, struggling with anger and antipathy. Villon surreptitiously refilled his cup,[Pg 62] and settled himself more comfortably in the chair, crossing his knees and leaning his head upon one hand and the elbow against the back of the chair. He was now replete and warm, and he was in nowise frightened for his host, having gauged him as justly as was possible between two such different characters. The night was far spent, and in a very comfortable fashion after all; and he felt morally certain of a safe departure on the morrow.
115. "I honor you too much by being here," said the knight. "Learn to watch your words when speaking to older and respected men, or someone less patient than I might correct you more harshly." He stood up and walked around the lower part of the room, battling with his anger and dislike. Villon quietly refilled his cup,[Pg 62] and made himself more comfortable in the chair, crossing his knees and resting his head on one hand, his elbow against the back of the chair. He felt warm and satisfied, and he wasn't worried about his host, having assessed him as fairly as possible between two such different personalities. The night was deep into its hours, and all in all, he felt quite comfortable; he was confident he would leave safely the next day.
116. “Tell me one thing,” said the old man, pausing in his walk. “Are you really a thief?”
116. “Tell me one thing,” the old man said, stopping in his tracks. “Are you actually a thief?”
117. “I claim the sacred rights of hospitality,” returned the poet. “My lord, I am.”
117. “I uphold the sacred rights of hospitality,” replied the poet. “My lord, I truly am.”
118. “You are very young,” the knight continued.
118. “You are really young,” the knight continued.
119. “I should never have been so old,” replied Villon, showing his fingers, “if I had not helped myself with these ten talents. They have been my nursing mothers and my nursing fathers.”
119. “I should never have gotten this old,” Villon replied, holding up his fingers, “if I hadn’t supported myself with these ten talents. They’ve been my caring mothers and fathers.”
120. “You may still repent and change.”
120. "You can still regret your actions and make a change."
121. “I repent daily,” said the poet. “There are few people more given to repentance than poor Francis. As for change, let somebody change my circumstances. A man must continue to eat, if it were only that he may continue to repent.”
121. “I regret every day,” said the poet. “There aren't many people who regret more than poor Francis. As for change, someone else needs to change my situation. A man has to keep eating, if only so he can keep regretting.”
122. “The change must begin in the heart,” returned the old man solemnly.
122. “The change has to start from within,” the old man replied seriously.
[Pg 63]
[Pg 63]
123. “My dear lord,” answered Villon, “do you really fancy that I steal for pleasure? I hate stealing, like any other piece of work or of danger. My teeth chatter when I see a gallows. But I must eat, I must drink, I must mix in society of some sort. What the devil! Man is not a solitary animal—Cui Deus fœminam tradit. Make me king’s pantler—make me abbot of St. Denis; make me bailly of the Patatrac; and then I shall be changed indeed. But as long as you leave me the poor scholar Francis Villon, without a farthing, why, of course, I remain the same.”
123. “My dear lord,” Villon replied, “do you really think that I steal for fun? I hate stealing, just like any other job or risky situation. My teeth chatter when I see a gallows. But I have to eat, I have to drink, I need to be part of some kind of society. What the heck! Humans aren’t solitary creatures—Cui Deus fœminam tradit. Make me the king’s steward—make me the abbot of St. Denis; make me the bailiff of the Patatrac; and then I would really change. But as long as you leave me the poor scholar Francis Villon, without a dime, well, of course, I’ll stay the same.”
124. “The grace of God is all-powerful.”
"God's grace is powerful."
125. “I should be a heretic to question it,” said Francis. “It has made you lord of Brisetout and bailly of the Patatrac; it has given me nothing but the quick wits under my hat and these ten toes upon my hands. May I help myself to wine? I thank you respectfully. By God’s grace, you have a very superior vintage.”
125. “I’d be a heretic to question it,” said Francis. “It’s made you the lord of Brisetout and the bailiff of the Patatrac; it’s given me nothing but the quick wits in my head and these ten toes on my hands. Can I pour myself some wine? Thanks a lot. By God’s grace, you have an excellent vintage.”
126. The lord of Brisetout walked to and fro with his hands behind his back. Perhaps he was not yet quite settled in his mind about the parallel between thieves and soldiers; perhaps Villon had interested him by some cross-thread of sympathy; perhaps his wits were simply muddled by so much unfamiliar reasoning; but whatever the cause, he somehow yearned to convert the young man to a better way of thinking, and could not make[Pg 64] up his mind to drive him forth again into the street.
126. The lord of Brisetout paced back and forth with his hands behind his back. Maybe he wasn’t completely sure about the similarity between thieves and soldiers; maybe Villon had sparked some unexpected sympathy; or maybe his thoughts were just jumbled by so much unfamiliar reasoning. But whatever the reason, he felt a strong desire to change the young man’s way of thinking and couldn’t bring himself to kick him back out into the street. [Pg 64]
127. “There is something more than I can understand in this,” he said at length. “Your mouth is full of subtleties, and the devil has led you very far astray; but the devil is only a very weak spirit before God’s truth, and all his subtleties vanish at a word of true honor, like darkness at morning. Listen to me once more. I learned long ago that a gentleman should live chivalrously and lovingly to God, and the king, and his lady; and though I have seen many strange things done, I have still striven to command my ways upon that rule. It is not only written in all noble histories, but in every man’s heart, if he will take care to read. You speak of food and wine, and I know very well that hunger is a difficult trial to endure; but you do not speak of other wants; you say nothing of honor, of faith to God and other men, of courtesy, of love without reproach. It may be that I am not very wise—and yet I am—but you seem to me like one who has lost his way and made a great error in life. You are attending to the little wants, and you have totally forgotten the great and only real ones, like a man who should be doctoring toothache on the Judgment Day. For such things as honor and love and faith are not only nobler than food and drink, but indeed I think we desire them more,[Pg 65] and suffer more sharply for their absence. I speak to you as I think you will most easily understand me. Are you not while careful to fill your belly, disregarding another appetite in your heart, which spoils the pleasure of your life and keeps you continually wretched?”
127. “There’s something I can't fully grasp in this,” he said after a while. “Your words are filled with complications, and you’ve gone very far off track; but even the devil is a weak force against God’s truth, and all his tricks disappear at a single word of true honor, like darkness fades at dawn. Listen to me one more time. I learned long ago that a gentleman should live honorably and lovingly towards God, the king, and his lady; and although I've witnessed many bizarre things, I’ve still tried to guide my actions by that principle. It's written not only in all noble histories but also in every man’s heart, if he takes the time to look. You talk about food and wine, and I understand that hunger is hard to bear; but you don’t mention other needs; you say nothing about honor, faith towards God and others, courtesy, or love without blame. Maybe I’m not very wise—and yet I am—but you seem like someone who’s lost their way and made a significant mistake in life. You’re focused on minor needs, forgetting the ones that truly matter, like a person trying to treat a toothache on Judgment Day. For things like honor, love, and faith are not only greater than food and drink, but I believe we crave them even more, and we suffer more intensely when they're missing. I’m speaking to you in a way I think you’ll best understand. While you’re busy making sure your stomach is full, are you ignoring a deeper yearning in your heart, which ruins your enjoyment of life and leaves you feeling miserable?”
128. Villon was sensibly nettled under all this sermonizing. “You think I have no sense of honor!” he cried. “I’m poor enough, God knows! It’s hard to see rich people with their gloves, and you blowing in your hands. An empty belly is a bitter thing, although you speak so lightly of it. If you had had as many as I, perhaps you would change your tune. Any way, I’m a thief—make the most of that—but I’m not a devil from hell, God strike me dead. I would have you to know I’ve an honor of my own, as good as yours, though I don’t prate about it all day long, as if it was a God’s miracle to have any. It seems quite natural to me; I keep it in its box till it’s wanted. Why, now, look you here, how long have I been in this room with you? Did you not tell me you were alone in the house? Look at your gold plate! You’re strong, if you like, but you’re old and unarmed, and I have my knife. What did I want but a jerk of the elbow and here would have been you with the cold steel in your bowels, and there would have been me, linking in the streets, with an[Pg 66] armful of golden cups! Did you suppose I hadn’t wit enough to see that? And I scorned the action. There are your damned goblets as safe as in a church, there are you with your heart ticking as good as new, and here am I, ready to go out again as poor as I came in, with my one white that you threw in my teeth! And you think I have no sense of honor—God strike me dead!”
128. Villon was really irritated by all this lecturing. “You think I have no sense of honor!” he shouted. “I’m poor enough, God knows! It’s hard to watch rich people with their gloves while I’m blowing in my hands. An empty stomach is a bitter thing, even if you talk about it so casually. If you had experienced as much as I have, maybe you’d feel differently. Either way, I’m a thief—make the most of that—but I’m not some devil from hell, God strike me dead. I want you to know that I have my own honor, just as valid as yours, even though I don’t go on about it all day long like it’s some miracle to have any. It seems perfectly natural to me; I keep it stored away until it’s needed. Now, look here, how long have I been in this room with you? Didn’t you say you were alone in the house? Look at your gold plate! You’re strong if you want, but you’re old and unarmed, and I have my knife. All I needed was a quick move and you would have had cold steel in your guts, while I would have been out in the streets with an[Pg 66] armful of golden cups! Did you think I wasn’t smart enough to see that? And I chose to walk away. There are your damned goblets as safe as in a church, there you are with your heart beating just fine, and here I am, leaving just as poor as I came in, with the one coin you threw in my face! And you think I have no sense of honor—God strike me dead!”
129. The old man stretched out his right arm. “I will tell you what you are,” he said. “You are a rogue, my man, an impudent and black-hearted rogue and vagabond. I have passed an hour with you. Oh! believe me, I feel myself disgraced! And you have eaten and drunk at my table. But now I am sick at your presence; the day has come, and the night-bird should be off to his roost. Will you go before, or after?”
129. The old man extended his right arm. "Let me tell you what you are," he said. "You're a scoundrel, my man, a brazen and heartless trickster and wanderer. I’ve spent an hour with you. Oh! believe me, I feel ashamed! And you’ve eaten and drunk at my table. But now I can't stand to have you around; the time has come, and the night creature should head back to its nest. Will you leave before, or after?"
130. “Which you please,” returned the poet, rising. “I believe you to be strictly honorable.” He thoughtfully emptied his cup. “I wish I could add you were intelligent,” he went on, knocking on his head with his knuckles. “Age! age! the brains stiff and rheumatic.”
130. “Whatever you prefer,” replied the poet, getting up. “I trust you to be completely honorable.” He thoughtfully emptied his cup. “I wish I could say you were smart,” he continued, tapping his head with his knuckles. “Age! Age! The brain feels stiff and achy.”
131. The old man preceded him from a point of self-respect; Villon followed, whistling, with his thumbs in his girdle.
131. The old man walked ahead out of a sense of self-respect; Villon trailed behind, whistling, with his thumbs tucked into his belt.
132. “God pity you!” said the lord of Brisetout at the door.
132. “God have mercy on you!” said the lord of Brisetout at the door.
133. “Good-bye, papa,” returned Villon, with a yawn. “Many thanks for the cold mutton.”
133. “Goodbye, Dad,” Villon said with a yawn. “Thanks for the cold mutton.”
134. The door closed behind him. The dawn was breaking over the white roofs. A chill, uncomfortable morning ushered in the day. Villon stood and heartily stretched himself in the middle of the road.
134. The door closed behind him. The dawn was breaking over the white roofs. A chilly, uncomfortable morning welcomed the day. Villon stood and stretched his arms wide in the middle of the road.
135. “A very dull old gentleman,” he thought. “I wonder what his goblets may be worth.”
135. “What a boring old guy,” he thought. “I wonder how much his goblets are worth.”
[Pg 67]
[Pg 67]
SUGGESTIVE QUESTIONS FOR STUDY
1. Briefly write out the plot of the story.
1. Write a short summary of the story's plot.
2. Which incidents are essential to the story (plot incidents)?
2. Which events are crucial to the plot?
3. Which incidents could be altered without vitally changing the story (developing incidents)? For a discussion of these types of incidents see the present author’s Writing the Short-Story, pp. 174-181.
3. Which incidents could be changed without significantly altering the story (developmental incidents)? For a discussion of these types of incidents, see the author’s Writing the Short-Story, pp. 174-181.
4. Show how one such change could be made.
4. Demonstrate how one of these changes could be implemented.
5. Does the external (visible or bodily) action stand out as clearly as the internal (invisible or soul) action?
5. Does the external (visible or physical) action stand out as clearly as the internal (invisible or spiritual) action?
6. (a) Is the story probable? (b) Usual? (c) Convincing?—That is, does it seem real?
6. (a) Is the story believable? (b) Common? (c) Persuasive?—In other words, does it feel real?
7. What are its strongest points, to you?
7. What do you think are its strongest points?
8. Criticise its weak points, if any.
8. Point out its weaknesses, if there are any.
9. Can you suggest any improvements?
9. Can you recommend any improvements?
10. (a) Do you know any stories similar in theme? (b) If so, which is the better story, to you, and why?
10. (a) Do you know any stories with a similar theme? (b) If yes, which one do you think is better, and why?
11. Briefly write out the plots of three stories of action or adventure, taken from any book or magazine.
11. Write a short summary of the plots of three action or adventure stories from any book or magazine.
12. Compare one of them with one of these two stories.
12. Compare one of them with one of these two stories.
[Pg 68]
[Pg 68]
TEN REPRESENTATIVE STORIES OF ACTION AND ADVENTURE
“After He was Dead,” Melville Davisson Post. Atlantic Monthly, April, 1911.
“After He was Dead,” Melville Davisson Post. Atlantic Monthly, April, 1911.
“The Attack on the Mill,” Émile Zola. Translated in Great Short Stories.
“The Attack on the Mill,” Émile Zola. Translated in Great Short Stories.
“The Taking of the Redoubt,” Prosper Mérimée. Translated in Short-Story Masterpieces.
“The Taking of the Redoubt,” Prosper Mérimée. Translated in Short-Story Masterpieces.
“The Man Who Would be King,” Rudyard Kipling. In The Phantom Rickshaw (and other stories).
“The Man Who Would be King,” Rudyard Kipling. In The Phantom Rickshaw (and other stories).
“The Sire de Malétroit’s Door,” Robert Louis Stevenson. In New Arabian Nights.
“The Sire de Malétroit’s Door,” Robert Louis Stevenson. In New Arabian Nights.
“The Diamond Lens,” Fitz-James O’Brien. In Short Story Classics, American.
“The Diamond Lens,” Fitz-James O’Brien. In Short Story Classics, American.
“The Young Man in a Hurry,” Robert W. Chambers. Harper’s Magazine, Aug., 1903.
“The Young Man in a Hurry,” Robert W. Chambers. Harper’s Magazine, Aug., 1903.
“A Fight for the Tsarina,” Maurus Jókai. Translated in Masterpieces of Fiction.
“A Fight for the Tsarina,” Maurus Jókai. Translated in Masterpieces of Fiction.
“The Window that Monsieur Forgot,” Mary Imlay Taylor. The Booklovers Magazine, Jan., 1904.
“The Window that Monsieur Forgot,” Mary Imlay Taylor. The Booklovers Magazine, Jan., 1904.
“Blood o’ Innocence,” George W. Knapp. Lippincott’s Magazine, Nov., 1907.
“Blood o’ Innocence,” George W. Knapp. Lippincott’s Magazine, Nov. 1907.
FOOTNOTES:
FOOTNOTES:
[13] Author’s Note.—Corporals were formerly the chief officers of the Corsican communes after they had rebelled against their feudal lords. To-day they still occasionally give the name to a man who—because of his property, his relationships, and his business—commands a certain influence, and a sort of effective magistracy over a parish or a canton. The Corsicans divide themselves, after ancient custom, into five castes: gentlemen (of whom some, magnifiques, are of higher estate, and some of lower, signori), corporals, citizens, plebeians, and foreigners.
[13] Author's Note.—Corporals used to be the main leaders of the Corsican communities after they rebelled against their feudal lords. Today, the term is still sometimes used for a man who, due to his wealth, connections, and business dealings, holds a certain level of influence and an unofficial authority over a parish or district. The Corsicans categorize themselves, following ancient tradition, into five social classes: gentlemen (some of whom, magnifiques, are of higher status, and some of lower, signori), corporals, citizens, plebeians, and foreigners.
[Pg 69]
[Pg 69]
II
STORIES OF MYSTERY AND FANTASY
The Purloined Letter.—Edgar Allan Poe
The Purloined Letter. — Edgar Allan Poe
The Monkey’s Paw.—W. W. Jacobs
The Monkey’s Paw.—W. W. Jacobs
[Pg 70]
[Pg 70]
The fact is ... that, in the riddle story, the detective was an after-thought, or, more accurately, a deus ex machina to make the story go. The riddle had to be unriddled; and who could do it so naturally and readily as a detective? The detective, as Poe saw him, was a means to this end; and it was only afterwards that writers perceived his availability as a character. Lecoq accordingly becomes a figure in fiction, and Sherlock, while he was as yet a novelty, was nearly as attractive as the complications in which he involved himself.—Julian Hawthorne, Introduction to The Lock and Key Library.
The truth is that, in the riddle story, the detective was an afterthought, or more accurately, a deus ex machina to move the story along. The riddle needed to be solved, and who could do it as effortlessly and quickly as a detective? The detective, as Poe envisioned him, was a tool to achieve this goal; it was only later that writers recognized his potential as a character. Lecoq thus becomes a figure in fiction, and Sherlock, while still a novelty, was almost as engaging as the complicated situations he found himself in.—Julian Hawthorne, Introduction to The Lock and Key Library.
The literature of ghosts is very ancient. In visions of the night, and in the lurid vapors of mystic incantations, figures rise and smile, or frown and disappear. The Witch of Endor murmurs her spell, and “an old man cometh up, and he is covered with a mantle.” Macbeth takes a bond of fate, and from Hecate’s caldron, after the apparition of an armed head and that of a bloody child, “an apparition of a child crowned, with a tree in his hand, rises.” The wizard recounts to Lochiel his warning vision, and Lochiel departs to his doom. There are stories of the Castle of Otranto and of The Three Spaniards, and the infinite detail of “singular experiences,” which make our conscious daily life the frontier and border-land of an impinging world of mystery.—George William Curtis, Introduction to Modern Ghosts.
The literature of ghosts is very old. In nighttime visions and the eerie mists of mystical rituals, figures appear, smiling or frowning before vanishing. The Witch of Endor chants her spell, and “an old man comes up, covered with a cloak.” Macbeth challenges fate, and from Hecate’s cauldron, following the vision of an armed head and that of a bloody child, “an apparition of a crowned child, holding a tree, rises.” The wizard shares his prophetic vision with Lochiel, who then heads toward his doom. There are tales of the Castle of Otranto and The Three Spaniards, along with countless “unique experiences,” which make our everyday conscious life the boundary between our world and one filled with mystery.—George W. Curtis, Introduction to Modern Ghosts.
[Pg 71]
[Pg 71]
STORIES OF MYSTERY AND FANTASY
Even more deeply seated and elemental than our love for the mysterious is our passion for undertaking its solution. It is this, doubtless, that challenges us to match our wits with the clever rogues of fiction, and to pit our resources of detection against the forces seen and unseen which play in tales of the weird, the mysterious, and the unexplained.
Even more fundamental than our love for the mysterious is our drive to solve it. This is surely what pushes us to outsmart the cunning characters in fiction and to use our detective skills against the seen and unseen forces that exist in stories of the strange, the mysterious, and the inexplicable.
Such stories readily fall into two classes, with as many sub-sorts as the invention of man may compass—those which are soluble and those which are not. Of the former, the detective story is the more common, followed at no very great distance by the tale which seems to involve the supernatural, but whose mystery transpires quite plainly in the end. Of the latter are all those inexplicable wonder-fictions dealing with shapes that haunt the dream-dusk, the whole shadow-land of wraiths and spirits and presences and immaterialities which cross the borders of experience at the call of fantasy. They are all the inheritance of the credulous age in which romance was born, and few of us are so engirded with the armor of stoicism that we cannot enjoy their gathering goose-flesh and creeping spinal chill. Hawthorne and Poe and Irving were masters here.
Such stories easily fall into two categories, with numerous sub-genres created by human imagination—those that can be solved and those that cannot. Among the former, detective stories are the most common, followed closely by tales that seem to feature the supernatural but have mysteries that are clearly revealed in the end. The latter includes all those inexplicable stories filled with shapes that haunt our dreams, the entire shadowy realm of ghosts, spirits, and entities that cross the boundaries of reality at the beckoning of imagination. They are all part of the legacy of the gullible era in which romance originated, and few of us are so armored with stoicism that we can't appreciate their spine-tingling suspense and eerie chills. Hawthorne, Poe, and Irving were masters in this genre.
The processes of inductive reasoning by which Voltaire’s Zadig reconstructed actual occurrences from trivial clues have developed into modern detective stories of uncounted variety, in which the criminal is hunted down by a professional sleuth. Then, too, the “clever amateur” often takes a hand in the game, and even accident plays at times, until there is no end to the possible combinations growing out of pure reasoning employed to unravel the tangle.
The method of inductive reasoning used by Voltaire’s Zadig to piece together real events from minor hints has evolved into the countless types of modern detective stories, where a professional investigator tracks down the criminal. Additionally, the "smart amateur" often gets involved, and even chance can play a role sometimes, leading to endless possibilities arising from pure reasoning used to untangle the mystery.
Much the same processes are employed to discover the pseudo-supernatural mystery, like Fitz-James O’Brien’s solved ghost-story, “What Was It? A Mystery.” But when we enter the domain of the unexplained, the story tends to become a study of fear and of pure mystery, like Marion Crawford’s “The Upper Berth,” and “The Damned Thing,” by Ambrose Bierce.
Much the same methods are used to uncover the pseudo-supernatural mystery, like Fitz-James O’Brien’s solved ghost story, “What Was It? A Mystery.” However, when we step into the realm of the unexplained, the story often becomes an exploration of fear and pure mystery, like Marion Crawford’s “The Upper Berth” and Ambrose Bierce’s “The Damned Thing.”
Poe was the great American originator of the detective story, and to-day his “Purloined Letter,” reproduced here in full, “The Mystery of Marie Rogêt,” and “The Murders in the Rue Morgue,” are unsurpassed.
Poe was the great American originator of the detective story, and today his “Purloined Letter,” reproduced here in full, “The Mystery of Marie Rogêt,” and “The Murders in the Rue Morgue” are unmatched.
[Pg 72]
[Pg 72]
POE AND HIS WRITINGS
Edgar Allan Poe was born in Boston, January 19, 1809. His father, of a good Maryland family, was an actor, and his mother an actress of English extraction. Both parents dying before Edgar was three, he, with his brother William and sister Rosalie, was left homeless in Richmond, where each found a protector. Mrs. Allan adopted Edgar, giving him his middle name, and bestowing at the same time every opportunity that wealth could[Pg 73] offer. He was sent to school at Stoke Newington, England, attended a private school in Richmond, and entered the University of Virginia, but remained there less than a year, for his reckless and erratic temperament champed under the restraints of routine. He was placed in Mr. Allan’s counting-room, but ran away to enlist in the United States Army as “Edgar Allan Perry.” After the death of Mrs. Allan, her husband secured Poe’s discharge from the army and his appointment to West Point as a cadet, July 1, 1830; but after six months Poe contrived to be dismissed. He had already published his poems successfully, so he went to New York, in the early part of 1831, to begin his professional literary life. For four years—1833 to 1837—he wrote brilliantly for The Southern Literary Messenger, in Baltimore. Then he went successively to New York and Philadelphia, where he worked on various literary enterprises for six years. In 1844 he returned to New York, and became assistant to N. P. Willis, in whose journal, The Mirror, “The Raven” appeared in 1845. Poe’s literary reputation was now established both in America and abroad, most of his masterpieces having been created during the turbulent years of his wanderings. In 1835 he had been married to Virginia Clemm, his cousin, and her early death in 1847 broke his spirit. His health had already succumbed to his morbid temperament—which magnified every sorrow of his chaotic career—and to the excesses of drugs and drink. He died most unhappily, October 7, 1849, at the age of forty—a master spirit pitifully wrecked before his prime.
Edgar Allan Poe was born in Boston on January 19, 1809. His father, from a well-off family in Maryland, was an actor, and his mother was an actress of English descent. Both parents died before Edgar turned three, leaving him, his brother William, and sister Rosalie homeless in Richmond, where each child found a guardian. Mrs. Allan adopted Edgar, giving him his middle name and providing him with all the opportunities that wealth could offer. He was sent to school at Stoke Newington in England, attended a private school in Richmond, and enrolled in the University of Virginia, but stayed less than a year because his reckless and unpredictable nature struggled with the constraints of routine. He was placed in Mr. Allan’s office but ran away to join the United States Army under the name “Edgar Allan Perry.” After Mrs. Allan passed away, her husband arranged to have Poe discharged from the army and appointed to West Point as a cadet on July 1, 1830; however, after six months, Poe managed to get expelled. He had already achieved success with his poetry, so he moved to New York in early 1831 to launch his literary career. For four years—1833 to 1837—he wrote brilliantly for The Southern Literary Messenger in Baltimore. He then moved to New York and Philadelphia, where he engaged in various literary projects for six years. In 1844, he returned to New York and became an assistant to N. P. Willis, in whose journal, The Mirror, “The Raven” was published in 1845. Poe's literary reputation was now established both in America and abroad, with most of his masterpieces created during the tumultuous years of his wandering. In 1835, he married his cousin Virginia Clemm, and her early death in 1847 shattered his spirit. His health had already suffered due to his troubled nature—which amplified every sorrow from his chaotic life—and to the abuse of drugs and alcohol. He died tragically on October 7, 1849, at the age of forty—a brilliant mind sadly ruined before his time.
[Pg 74]
[Pg 74]
Poe was a remarkable poet, essayist, critic, and short-story writer. “The Raven,” “Lenore,” “Ulalume,” “The Bells,” “Annabel Lee,” “Israfel,” and “To One in Paradise” are among his best poems. Probably the greatest of his stories are, “MS. Found in A Bottle,” “The Assignation,” “Ligeia,” “The Murders in The Rue Morgue,” “The Mystery of Marie Rogêt,” “A Descent into The Maelstrom,” “The Masque of The Red Death,” “The Pit and the Pendulum,” “The Gold Bug,” “The Black Cat,” “The Cask of Amontillado,” “The Fall of the House of Usher,” first published in Burton’s Gentleman’s Magazine, September, 1839—and “The Purloined Letter,” first published in The Gift, an “annual,” in 1845.
Poe was an exceptional poet, essayist, critic, and short story writer. “The Raven,” “Lenore,” “Ulalume,” “The Bells,” “Annabel Lee,” “Israfel,” and “To One in Paradise” are some of his finest poems. Some of his greatest stories include “MS. Found in A Bottle,” “The Assignation,” “Ligeia,” “The Murders in The Rue Morgue,” “The Mystery of Marie Rogêt,” “A Descent into The Maelstrom,” “The Masque of The Red Death,” “The Pit and the Pendulum,” “The Gold Bug,” “The Black Cat,” “The Cask of Amontillado,” “The Fall of the House of Usher,” which was first published in Burton’s Gentleman’s Magazine, September, 1839—and “The Purloined Letter,” first published in The Gift, an “annual,” in 1845.
Poe was the greatest conscious artist that American literature has ever known. He not only looked backward upon his own work and, as did Stevenson, clearly traced the operations of his mind in its production, but he built up a structure of literary theory which has been powerfully attacked, indeed, but whose walls remain substantially whole to-day. To his constructive criticism of the short-story is directly due its present advanced form, for while current practice has widely departed from Poe’s morbid, gloomy, extravagant themes and formal, abundant diction, his stories are still unsurpassed for vigor, atmosphere, invention, and thrill, and his laws of composition are read everywhere with the respect due authority.
Poe was the greatest intentional artist American literature has ever seen. He didn't just reflect on his own work; like Stevenson, he clearly mapped out how his mind operated during its creation. He also developed a framework of literary theory that has faced strong criticism but remains largely intact today. His insightful critique of the short story is directly responsible for its current advanced form, because while modern writing has strayed far from Poe's dark, gloomy, extravagant themes and elaborate language, his stories are still unmatched in terms of energy, atmosphere, creativity, and excitement. His rules for writing are respected everywhere as if they were authoritative.
[Pg 75]
[Pg 75]
Ah, dream too bright to last!
Ah, starry Hope, that didst arise
But to be overcast!
A voice from out the Future cries,
“Onward!”—but o’er the Past
(Dim gulf!) my spirit hovering lies,
Mute—motionless—aghast!
Ah, dream too bright to last!
Ah, starry Hope, that did arise
Just to be overshadowed!
A voice from the Future calls,
“Keep going!”—but over the Past
(Dim abyss!) my spirit hovers,
Silent—still—shocked!
Edgar Allan Poe, The Assignation.
Edgar Allan Poe, The Assignation.
Had you lived a generation later, honor, wealth, applause, success in Europe and at home, would all have been yours.—Andrew Lang, Letters to Dead Authors.
If you had lived a generation later, you would have had honor, wealth, applause, and success both in Europe and at home. —Andrew Lang, Letters to Dead Authors.
There are literary evolutionists who, in their whim of seeing in every original writer a copy of some predecessor, have declared that Hawthorne is derived from Tieck, and Poe from Hoffmann.... If the adjective American has any meaning at all, it qualifies Poe and Hawthorne. They were American to the core. They both revealed the curious sympathy with Oriental moods of thought which is often an American characteristic. Poe, with his cold logic and his mathematical analysis, and Hawthorne, with his introspective conscience and his love of the subtle and the invisible, are representative of phases of American character not to be mistaken by any one who has given thought to the influence of nationality.... Nothing better of its kind has ever been done than the “Pit and the Pendulum,” or than the “Fall of the House of Usher” (which has been compared aptly with Browning’s “Childe Roland to the Dark Tower Came” for its power of suggesting intellectual desolation). Nothing better of its kind has ever been done than the “Gold Bug,” or than the “Purloined Letter,” or than the “Murders in the Rue Morgue.”—Brander Matthews, The Philosophy of the Short-story.
There are literary evolutionists who, in their tendency to see every original writer as a version of some predecessor, have claimed that Hawthorne is influenced by Tieck, and Poe by Hoffmann.... If the term American has any significance at all, it definitely applies to Poe and Hawthorne. They were American through and through. They both expressed that unique sympathy with Eastern moods of thought, which is often seen as an American trait. Poe, with his cold logic and mathematical approach, and Hawthorne, with his introspective conscience and appreciation for the subtle and unseen, represent aspects of American character that anyone who has considered the impact of nationality cannot overlook.... Nothing better of its kind has ever been created than the “Pit and the Pendulum,” or than the “Fall of the House of Usher” (which has been aptly compared to Browning’s “Childe Roland to the Dark Tower Came” for its ability to evoke intellectual desolation). Nothing better of its kind has ever been created than the “Gold Bug,” or the “Purloined Letter,” or the “Murders in the Rue Morgue.”—Brander Matthews, The Philosophy of the Short-story.
The conception of gloomy terror which impregnates “The House of Usher” is as complete as the idea of medieval chivalry underlying Ivanhoe.... To be sure, the terror in his stories, so he said in his preface to the Tales of the Grotesque and the Arabesque, was “not of Germany, but of the soul....” Yet one can readily believe that his Roderick in “The House of Usher,” who pored over books which had the “character of phantasm,” Morella, who was interested in the transcendentalism of Schelling and Fichte, Ægæus, whom “the realities of the world affected—as visions,” are all identical with the Young Poe when he freed his mind and later his fancy in the fields where Novalis sought the blue flower and all the German romanticists wandered.... To say that Poe was a creature of German influence would be absurd. To say that German thought and fancy were sympathetic to his genius, would be putting it too mildly. Between these extremes the truth must lie.—H. S. Canby, The Short Story in English.
The dark terror that fills “The House of Usher” is as profound as the concept of medieval chivalry in Ivanhoe.... Poe claimed in his preface to the Tales of the Grotesque and the Arabesque that the terror in his stories was “not of Germany, but of the soul....” However, it's easy to see that Roderick from “The House of Usher,” who immersed himself in books that had a “character of phantasm,” Morella, who explored the transcendental ideas of Schelling and Fichte, and Ægæus, whom “the realities of the world affected—as visions,” all reflect the Young Poe when he liberated his mind and later his imagination in the realms where Novalis sought the blue flower and where all the German romanticists wandered.... To claim that Poe was solely shaped by German influence would be ridiculous. To say that German thought and imagination resonated with his genius would be an understatement. The truth must lie somewhere in between.—H.S. Canby, The Short Story in English.
[Pg 76]
[Pg 76]
FURTHER REFERENCES FOR READING ON POE
FURTHER REFERENCES FOR READING ON POE
Prose Writers of America, Rufus W. Griswold (1870); Short Studies of American Authors, Thomas W. Higginson (1880); Letters to Dead Authors, Andrew Lang (1886); Criticisms on Contemporary Thought, Richard H. Hutton (1894); American Lands and Letters, Donald G. Mitchell (1897-99); Life of Edgar Allan Poe, R. H. Stoddard (1899); Poe and Some of His Critics, C. W. Hubner (1906); Life of Edgar Allan Poe, Personal and Literary, George E. Woodberry (1909); Edgar Allan Poe, A Critical Study, Arthur Ransome (1910).
Prose Writers of America, Rufus W. Griswold (1870); Short Studies of American Authors, Thomas W. Higginson (1880); Letters to Dead Authors, Andrew Lang (1886); Criticisms on Contemporary Thought, Richard H. Hutton (1894); American Lands and Letters, Donald G. Mitchell (1897-99); Life of Edgar Allan Poe, R. H. Stoddard (1899); Poe and Some of His Critics, C. W. Hubner (1906); Life of Edgar Allan Poe, Personal and Literary, George E. Woodberry (1909); Edgar Allan Poe, A Critical Study, Arthur Ransome (1910).
THE PURLOINED LETTER
Nil sapientiae odiosius acumina nimio.—Seneca.
Nothing is more annoying than excessive cleverness.—Seneca.
(Nothing is more odious to wisdom than too great acumen.)
(Nothing is more offensive to wisdom than excessive cleverness.)
BY EDGAR ALLAN POE
BY EDGAR ALLAN POE
At Paris, just after dark one gusty
evening in the autumn of 18—, I was
enjoying the twofold luxury of meditation
and a meerschaum, in company
with my friend C. Auguste Dupin,Dupin appears as the detective
in Poe’s other mystery
stories, “The Murders
in the Rue Morgue,”
and “The Mystery of
Marie Rogêt.”
Au troisième—third flight,
or fourth floor.
in his little back library, or[Pg 77]
book closet, au troisième, No. 33
Rue Dunôt, Faubourg St. Germain.
For one hour at least we had maintained
a profound silence; while each,
to any casual observer, might have
seemed intently and exclusively occupied
with the curling eddies of
smoke that oppressed the atmosphere
of the chamber. Compare this story with
Sardou’s “A Scrap of
Paper.”For myself, however,
I was mentally discussing certain
topics which had formed matter
for conversation between us at an
earlier period of the evening; I mean
the affair of the Rue Morgue, and
the mystery attending the murder of
Marie Rogêt. I looked upon it,
therefore, as something of a coincidence,G—— also appears in “The
Mystery of Marie Rogêt.”
when the door of our apartment
was thrown open and admitted
our old acquaintance, Monsieur
G——, the Prefect of the Parisian
police.
In Paris, just after dark one windy evening in the autumn of 18—, I was enjoying the double pleasure of thinking deeply and smoking my meerschaum pipe, alongside my friend C. Auguste Dupin,Dupin is the detective in Poe's other mystery stories, "The Murders in the Rue Morgue" and "The Mystery of Marie Rogêt."
Au troisième—third flight, or fourth floor. in his small back library, or[Pg 77] book closet, au troisième, No. 33 Rue Dunôt, Faubourg St. Germain. For at least an hour, we had kept a deep silence; while both of us, to any casual observer, might have seemed completely focused on the swirling smoke that filled the room. Compare this story with Sardou's "A Scrap of Paper." As for me, I was mentally going over certain topics we had discussed earlier in the evening; specifically, the case of the Rue Morgue and the mystery surrounding the murder of Marie Rogêt. I regarded it as a bit of a coincidence,G—— is also mentioned in “The Mystery of Marie Rogêt.” when the door of our apartment suddenly swung open and admitted our old acquaintance, Monsieur G——, the Prefect of the Paris police.
2. We gave him a hearty welcome; for there was nearly half as much of the entertaining as of the contemptible about the man, and we had not seen him for several years. We had been sitting in the dark, and Dupin now arose for the purpose of lighting a lamp, but sat down again, without doing so, upon G——'s saying that he had called to consult us, or rather to ask the opinion of my friend, about some official business which had occasioned a great deal of trouble.
2. We gave him a warm welcome; there was almost as much entertaining as there was contemptible about the man, and we hadn't seen him in several years. We had been sitting in the dark, and Dupin stood up to light a lamp but sat back down without doing it when G—— said he had come to consult us, or rather to ask my friend's opinion, about some official business that had caused a lot of trouble.
3. “If it is any point requiring reflection,” observed Dupin, as he forbore to enkindle the wick, “we shall[Pg 78] examine it to better purpose in the dark.”
3. “If there’s anything that needs thought,” Dupin said, holding off from lighting the wick, “we’ll[Pg 78] look into it more effectively in the dark.”
4. “That is another of your odd notions,” said the Prefect, who had a fashion of calling everything “odd” that was beyond his comprehension, and thus lived amid an absolute legion of “oddities.”
4. “That’s just another one of your strange ideas,” said the Prefect, who had a habit of calling everything “strange” that he didn’t understand, and so he lived surrounded by a ton of “strangeness.”
5. “Very true,” said Dupin, as he supplied his visitor with a pipe, and rolled towards him a comfortable chair.
5. “Absolutely,” said Dupin, as he handed his guest a pipe and rolled a comfy chair over to him.
6. “And what is the difficulty now?” I asked. “Nothing more in the assassination way, I hope?”
6. “So what’s the problem now?” I asked. “I hope it’s not anything else related to the assassination?”
7. “Oh, no; nothing of that nature. The fact is, the business is very simple, indeed, and I make no doubt that we can manage it sufficiently well ourselves; but then I thought Dupin would like to hear the details of it, because it is so excessively odd.”
7. “Oh, no; nothing like that. The truth is, the situation is very simple, and I’m sure we can handle it well enough on our own; but I thought Dupin would be interested in the details since it’s so incredibly odd.”
8. “Simple and odd,” said Dupin.
8. “Straightforward and strange,” said Dupin.
9. “Why, yes; and not exactly that, either. The fact is, we have all been a good deal puzzled because the affair is so simple, and yet baffles us altogether.”
9. “Yeah, that’s true; but not exactly that, either. The truth is, we've all been pretty confused because the situation is so straightforward, yet it completely baffles us.”
10. “Perhaps it is the very simplicity of the thing which puts you at fault,” said my friend.
10. “Maybe it’s the simplicity of it that’s the problem,” my friend said.
11. “What nonsense you do talk!” replied the Prefect, laughing heartily.
11. “What nonsense you do talk!” replied the Prefect, laughing really hard.
12. “Perhaps the mystery is a little too plain,” said Dupin.
12. “Maybe the mystery is a bit too obvious,” said Dupin.
13. “Oh, good Heavens! who ever heard of such an idea?”
13. “Oh, my gosh! Who ever thought of such an idea?”
14. “A little too self-evident.”
“A bit too obvious.”
15. “Ha! ha! ha! ha! ha! ha! ho![Pg 79] ho! ho!” roared our visitor, profoundly amused. “Oh, Dupin, you will be the death of me yet!”
15. “Ha! ha! ha! ha! ha! ha! ho![Pg 79] ho! ho!” laughed our guest, clearly entertained. “Oh, Dupin, you’re going to be the end of me yet!”
16. “And what, after all, is the matter on hand?” I asked.
16. “So, what's really going on here?” I asked.
17. “Why, I will tell you,” replied the Prefect, as he gave a long, steady, and contemplative puff, and settled himself in his chair. “I will tell you in a few words; but, before I begin, let me caution you that this is an affair demanding the greatest secrecy, and that I should most probably lose the position I now hold were it known that I confided it to any one.”
17. “I’ll tell you,” replied the Prefect, as he took a long, steady puff and got comfortable in his chair. “I’ll tell you in just a few words; but before I start, let me warn you that this is a matter requiring absolute secrecy, and I would likely lose my job if it were known that I shared this with anyone.”
18. “Proceed,” said I.
"Go ahead," I said.
19. “Or not,” said Dupin.
“Or not,” Dupin replied.
20. “Well, then; I have received personal information from a very high quarter that a certain document of the last importance has been purloined from the royal apartments. The individual who purloined it is known; this beyond a doubt; The foundation laid; SUMMARY OF PROBLEM. he was seen to take it. It is known, also, that it still remains in his possession.”
20. “Well, I've received word from a very high source that an important document has been stolen from the royal apartments. The person who took it is known for sure; The foundation laid; SUMMARY OF PROBLEM. they were seen taking it. It's also clear that it is still in their possession.”
21. “How is this known?” asked Dupin.
21. “How do we know this?” asked Dupin.
22. “It is clearly inferred,” replied the Prefect, “from the nature of the document, and from the non-appearance of certain results which would at once arise from its passing out of the robber’s possession; that is to say, from his employing it as he must design in the end to employ it.”
22. “It’s obvious,” replied the Prefect, “from the nature of the document, and from the absence of certain outcomes that would immediately result if it were to leave the robber’s possession; in other words, from how he must intend to use it in the end.”
23. “Be a little more explicit,” I said.
23. "Be a bit more clear," I said.
[Pg 80]
[Pg 80]
24. “Well, I may venture so far as to say that the paper gives its holder a certain power in a certain quarter where such power is immensely valuable.” The Prefect was fond of the cant of diplomacy.
24. “Well, I can at least say that the paper gives its holder a certain influence in a certain area where that influence is extremely valuable.” The Prefect liked the jargon of diplomacy.
25. “Still I do not quite understand,” said Dupin.
25. "I still don't fully understand," said Dupin.
26. “No? well; the disclosure of the document to a third person, who shall be nameless, would bring in question the honor of a personage of most exalted station; and this fact gives the holder of the document an ascendency over the illustrious personage whose honor and peace are so jeopardized.”
26. “No? Well, sharing this document with an unnamed third party would put the honor of a very important person at risk; and this fact gives the holder of the document power over the distinguished individual whose honor and peace are at stake.”
27. “But this ascendency,” I interposed, “would depend upon the robber’s knowledge of the loser’s knowledge of the robber. Who would dare—”
27. “But this advantage,” I interrupted, “would rely on the thief’s awareness of the victim’s understanding of the thief. Who would dare—”
28. “The thief,” said G——, “is the Minister D——, who dares all things, those unbecoming as well as those becoming a man. Unique situation: the thief is known.The method of the theft was not less ingenious than bold. The document in question—a letter, to be frank—had been received by the personage robbed while alone in the royal boudoir. During its perusal she was suddenly interrupted by the entrance of the other exalted personage, from whom especially it was her wish to conceal it. Method and circumstances of the theft related. After a hurried and vain endeavor to thrust it in a drawer, she was forced to place it, open as it was, upon a table. The address, however,[Pg 81] was uppermost, and, the contents thus unexposed, the letter escaped notice.See note on ¶115, p. 104. At this juncture enters the Minister D——. His lynx eye immediately perceives the paper, recognizes the handwriting of the address, observes the confusion of the personage addressed, and fathoms her secret. After some business transactions, hurried through in his ordinary manner, he produces a letter somewhat similar to the one in question, opens it, pretends to read it, and then places it in close juxtaposition to the other. Again he converses for some fifteen minutes upon the public affairs.Note “the”. At length in taking leave he takes also from the table the letter to which he had no claim. Its rightful owner saw, but of course dared not call attention to the act, in the presence of the third personage, who stood at her elbow. The minister decamped, leaving his own letter—one of no importance—upon the table.”
28. “The thief,” said G——, “is the Minister D——, who dares to do anything, both inappropriate and appropriate for a man. Unusual situation: the thief is identified. His method of stealing was as clever as it was daring. The document in question—a letter, to be honest—had been received by the person who was robbed while she was alone in the royal boudoir. While reading it, she was suddenly interrupted by the entrance of another important person, from whom she especially wanted to keep it secret. Details about how and under what conditions the theft occurred. After a hurried and unsuccessful attempt to shove it into a drawer, she was forced to leave it, still open, on a table. The address was facing up, and since the contents were not visible, the letter went unnoticed.See note on __A_TAG_PLACEHOLDER_0__, p. 104. At this moment, Minister D—— walked in. His sharp eye immediately spotted the paper, recognized the handwriting of the address, noticed the addressed person's confusion, and figured out her secret. After some business dealings, done in his usual quick manner, he took out a letter similar to the one in question, opened it, pretended to read it, and then placed it right next to the other letter. He continued to discuss public affairs for another fifteen minutes.the Finally, as he was leaving, he also took the letter from the table that he had no right to. Its rightful owner saw this but, of course, didn’t dare to point it out in front of the third person who was standing next to her. The minister left, leaving his unimportant letter behind on the table.”
29. “Here, then,” said Dupin to me, “you have precisely what you demand to make the ascendency complete—the robber’s knowledge of the loser’s knowledge of the robber.”
29. “Here you go,” Dupin said to me, “you have exactly what you need to make the dominance complete—the robber’s understanding of what the loser knows about the robber.”
30. “Yes,” replied the Prefect; “and the power thus attained has, for some months past, been wielded, for political purposes, to a very dangerous extent. The personage robbed is more thoroughly convinced, every day, of the necessity of reclaiming her letter. End of statement of case as a problem.But this, of course, cannot be done openly. In fine, driven to despair, [Pg 82] she has committed the matter to me.”
30. “Yes,” the Prefect replied; “and the power we've gained has been used politically to a very dangerous extent for the past few months. The person who was robbed becomes more convinced every day of the need to get her letter back. End of the case statement as an issue. But this, of course, can’t be done openly. In short, feeling hopeless, [Pg 82] she has entrusted the matter to me.”
Satire supports his attitude toward the police.
31. “Than whom,” said Dupin, amid a perfect whirlwind of smoke, “no more sagacious agent could, I suppose, be desired, or even imagined.”
31. “Than whom,” said Dupin, in a complete whirlwind of smoke, “no more insightful agent could, I guess, be wanted, or even thought of.”
32. “You flatter me,” replied the Prefect; “but it is possible that some such opinion may have been entertained.”
32. “You’re flattering me,” replied the Prefect; “but it’s possible that someone might have thought that.”
33. “It is clear,” said I, “as you observe, that the letter is still in possession of the minister; since it is this possession, and not any employment of the letter, which bestows the power. With the employment the power departs.”
33. “It’s obvious,” I said, “as you can see, that the minister still has the letter; it’s this possession, and not how the letter is used, that gives the power. Once it’s used, the power goes away.”
34. “True,” said G——, “and upon this conviction I proceeded. My first care was to make thorough search of the minister’s hotel; and here my chief embarrassment lay in the necessity of searching without his knowledge. Beyond all things, I have been warned of the danger which would result from giving him reason to suspect our design.”
34. “True,” said G——, “and that’s what I based my actions on. My first priority was to thoroughly search the minister’s hotel, and my main challenge was to do it without him knowing. Above all, I’ve been cautioned about the risks that could come from giving him any reason to suspect what we’re up to.”
35. “But,” said I, “you are quite au fait in these investigations. The Parisian police have done this thing often before.”
35. “But,” I said, “you’re very knowledgeable about these investigations. The Paris police have dealt with this kind of thing many times before.”
36. “Oh, yes; and for this reason I did not despair. The habits of the minister gave me, too, a great advantage. He is frequently absent from home all night. His servants are by no means numerous. They sleep at a distance from their master’s[Pg 83] apartment, and being chiefly Neapolitans, are readily made drunk. I have keys, as you know, with which I can open any chamber or cabinet in Paris. For three months, a night has not passed during the greater part of which I have not been engaged, personally, in ransacking the D—— Hotel. My honor is interested, and, to mention a great secret, the reward is enormous. So I did not abandon the search until I had become fully satisfied that the thief is a more astute man than myself. I fancy that I have investigated every nook and corner of the premises in which it is possible that the paper can be concealed.”
36. “Oh, yes; and because of this, I didn’t lose hope. The habits of the minister gave me a big advantage. He’s often out all night. His staff isn’t large. They sleep far away from their boss’s[Pg 83] room, and since they’re mostly from Naples, they get drunk easily. As you know, I have keys that can open any room or cabinet in Paris. For the past three months, there hasn’t been a night when I wasn’t actively searching the D—— Hotel. My reputation is at stake, and to let you in on a big secret, the reward is huge. So I didn’t give up the search until I was completely sure that the thief is smarter than I am. I believe I’ve searched every nook and cranny of the place where the paper might be hidden.”
37. “But is it not possible,” I suggested, “that although the letter may be in possession of the minister, as it unquestionably is, he may have concealed it elsewhere than upon his own premises?”
37. “But is it possible,” I suggested, “that even though the minister definitely has the letter, he might have hidden it somewhere other than on his own property?”
38. “This is barely possible,” said Dupin. “The present peculiar condition of affairs at court, and especially of those intrigues in which D—— is known to be involved, would render the instant availability of the document—its susceptibility of being produced at a moment’s notice—a point of nearly equal importance with its possession.”
38. “This is hardly feasible,” Dupin said. “The current unusual situation at court, particularly those schemes that D—— is known to be involved in, makes the immediate access to the document—its ability to be produced on short notice—a matter of almost equal importance to actually having it.”
39. “Its susceptibility of being produced?” said I.
39. “Is it possible to produce it?” I asked.
40. “That is to say, of being destroyed,” said Dupin.
40. “In other words, being destroyed,” said Dupin.
41. “True,” I observed; “the paper[Pg 84] is clearly then upon the premises. As for its being upon the person of theA just inference. minister, we may consider that as out of the question.”
41. “True,” I noted; “the paper[Pg 84] is definitely based on the facts. As for it being related to the minister, we can rule that out.”
42. “Entirely,” said the Prefect. “He has been twice waylaid, as if by footpads, and his person rigorously searched under my own inspection.”
42. “Absolutely,” said the Prefect. “He has been ambushed twice, as if by robbers, and his body thoroughly searched right under my supervision.”
43. “You might have spared yourself this trouble,” said Dupin. “D——, I presume, is not altogether a fool, and, if not, must have anticipated these waylayings as a matter of course.”
43. “You could have avoided this hassle,” Dupin said. “D——, I assume, isn’t completely clueless, and if that’s the case, he must have expected these ambushes as a given.”
44. “Not altogether a fool,” said G——; “but then he’s a poet, which I take to be only one remove from a fool.”
44. “Not entirely a fool,” said G——; “but he’s a poet, which I think is just a step away from being a fool.”
45. “True,” said Dupin, after a long and thoughtful whiff from his meerschaum, “although I have been guilty of certain doggerel myself.”
45. “True,” Dupin said, after taking a long and thoughtful puff from his meerschaum, “though I've written some terrible poetry myself.”
46. “Suppose you detail,” said I, “the particulars of your search.”
46. “Why don’t you explain,” I said, “the details of your search?”
47. “Why, the fact is, we took our time, and we searched everywhere. I have had long experience in these affairs. I took the entire building, room by room, devoting the nights of a whole week to each. We examined, first, the furniture of each apartment. We opened every possible drawer; and I presume you know that, to a properly trained police agent, such a thing as a secret drawer is impossible. On Poe’s “police methods” most modern detective writers have drawn for material. Any man is a dolt who permits a ‘secret’ drawer to escape him in a search of this kind. The thing is so[Pg 85] plain. There is a certain amount of bulk—of space—to be accounted for in every cabinet. Then we have accurate rules. The fiftieth part of a line could not escape us. After the cabinets we took the chairs. The cushions we probed with the fine long needles you have seen me employ. From the tables we removed the tops.”
47. “The truth is, we took our time and searched everywhere. I have a lot of experience in these matters. I went through the entire building, room by room, spending whole nights for an entire week on each one. We started by examining the furniture in each apartment. We opened every single drawer; and you should know that, for a well-trained police officer, a secret drawer is impossible to miss. Most contemporary detective writers have taken inspiration from Poe's "police methods." Any person who lets a ‘secret’ drawer slip by during a search like this is a fool. It’s so clear. There’s a certain amount of bulk—space—that needs to be accounted for in every cabinet. Then we have our precise rules. Even the tiniest part of a line couldn’t escape our notice. After checking the cabinets, we moved on to the chairs. We probed the cushions with the fine long needles you’ve seen me use. We removed the tops from the tables.”
48. “Why so?”
“Why is that?”
49. “Sometimes the top of a table, or other similarly arranged piece of furniture, is removed by the person wishing to conceal an article; then the leg is excavated, the article deposited within the cavity, and the top replaced. The bottoms and tops of bed-posts are employed in the same way.”
49. “Sometimes the top of a table or another similar piece of furniture is taken off by someone who wants to hide an item; then the leg is hollowed out, the item is placed inside the space, and the top is put back on. The bottoms and tops of bed posts are used in the same way.”
50. “But could not the cavity be detected by sounding?” I asked.
50. “But can’t we find the cavity by sounding?” I asked.
51. “By no means, if, when the article is deposited, a sufficient wadding of cotton be placed around it. Besides, in our case we were obliged to proceed without noise.”
51. “Absolutely not, if there’s enough cotton padding placed around the article when it’s stored. Plus, in our situation, we had to go about it quietly.”
52. “But you could not have removed—you could not have taken to pieces all articles of furniture in which it would have been possible to make a deposit in the manner you mention. A letter may be compressed into a thin spiral roll, not differing much in shape or bulk from a large knitting-needle, and in this form it might be inserted into the rung of a chair, for example. You did not take to pieces all the chairs?”
52. “But you couldn't have taken apart—you couldn't have disassembled all the furniture where it would have been possible to hide something like you mentioned. A letter can be rolled up tightly into a slim spiral, not much different in shape or size from a large knitting needle, and in that form, it might fit into the rung of a chair, for instance. Did you take apart all the chairs?”
[Pg 86]
[Pg 86]
53. “Certainly not; but we did better—we examined the rungs of every chair in the hotel, and indeed, the jointings of every description of furniture, by the aid of a most powerful microscope. Had there been any traces of recent disturbance we should not have failed to detect it instantly. A single grain of gimlet-dust, for example, would have been as obvious as an apple. Any disorder in the gluing—any unusual gaping in the joints—would have sufficed to insure detection.”
53. "Definitely not; but we did better—we checked the rungs of every chair in the hotel, and even the joints of all kinds of furniture, using a really strong microscope. If there had been any signs of recent disturbance, we would have spotted it right away. A single grain of gimlet dust, for instance, would have stood out like an apple. Any mess in the glue or any unusual gaps in the joints would have been enough to ensure we noticed it."
54. “I presume you looked to the mirrors, between the boards and the plates, and you probed the beds and the bed-clothes, as well as the curtains and carpets?”
54. “I assume you checked the mirrors, between the boards and the plates, and you examined the beds and the bedding, as well as the curtains and carpets?”
55. “That, of course; and when we had absolutely completed every particle of the furniture in this way, then we examined the house itself. We divided its entire surface into compartments, which we numbered, so that none might be missed; then we scrutinized each individual square inch throughout the premises including the two houses immediately adjoining, with the microscope, as before.”
55. “Of course; and once we finished putting together every single piece of furniture like this, we turned our attention to the house itself. We split the entire place into sections, giving each a number so that we wouldn’t overlook anything; then we closely examined every single square inch of the property, including the two houses right next door, using a microscope, just like before.”
56. “The two houses adjoining!” I exclaimed; “you must have had a great deal of trouble.”
56. “The two houses next to each other!” I exclaimed; “you must have had a lot of trouble.”
57. “We had; but the reward offered is prodigious.”
57. "We did, but the reward being offered is huge."
58. “You include the grounds about the houses?”
58. “Do you include the grounds around the houses?”
59. “All the grounds are paved[Pg 87] with brick. They gave us comparatively little trouble. We examined the moss between the bricks, and found it undisturbed.”
59. “All the paths are laid with bricks[Pg 87]. They caused us relatively little trouble. We checked the moss between the bricks and found it undisturbed.”
60. “You looked among D——'s papers, of course, and into the books of the library?”
60. “You checked D——'s papers, right, and also looked through the library books?”
61. “Certainly; we opened every package and parcel; we not only opened every book, but we turned over every leaf in each volume, not contenting ourselves with a mere shake, according to the fashion of some of our police officers. We also measured the thickness of every book-cover, with the most accurate admeasurement, and applied to each the most jealous scrutiny of the microscope. Had any of the bindings been recently meddled with, it would have been utterly impossible that the fact should have escaped observation. Some five or six volumes, just from the hands of the binder, we carefully probed, longitudinally, with the needles.”
61. “Of course; we opened every package and parcel; we not only opened every book, but we flipped through every page in each volume, not settling for just a quick look like some of our police officers do. We also measured the thickness of every book cover with the most precise measurements and examined each one with a careful eye using a microscope. If any of the bindings had been tampered with recently, there’s no way we would have missed it. We carefully inspected five or six volumes that had just come from the binder, probing them lengthwise with needles.”
62. “You explored the floors beneath the carpets?”
62. “You looked underneath the carpets on the floors?”
63. “Beyond doubt. We removed every carpet, and examined the boards with the microscope.”
63. “Absolutely. We took out every carpet and looked at the floorboards under a microscope.”
64. “And the paper on the walls?”
64. “What about the paper on the walls?”
65. “Yes.”
“Yes.”
66. “You looked into the cellars?”
66. “Did you check the cellars?”
67. “We did.”
"We did."
68. “Then,” I said, “you have been making a miscalculation, and the letter is not on the premises, as you suppose.”
68. “Then,” I said, “you’ve got it wrong, and the letter is not here, like you think.”
[Pg 88]
[Pg 88]
69. “I fear you are right there,” said the Prefect. “And now, Dupin, what would you advise me to do?”
69. “I think you’re right about that,” said the Prefect. “So, Dupin, what do you suggest I do?”
70 “To make a thorough research of the premises.”
70 “To conduct a comprehensive investigation of the premises.”
71. “That is absolutely needless,” replied G——. “I am not more sure that I breathe than I am that the letter is not at the Hotel.”
71. “That is totally unnecessary,” replied G——. “I’m just as certain that I’m breathing as I am that the letter isn’t at the hotel.”
72. “I have no better advice to give you,” said Dupin. “You have, of course, an accurate description of the letter?”
72. “I don’t have any better advice for you,” Dupin said. “You do have an accurate description of the letter, right?”
73. “Oh, yes.” And here the Prefect, producing a memorandum-book, proceeded to read aloud a minute account of the internal, and especially of the external, appearance of the missing document. Soon after finishingNote the patronizing “good gentleman.” the perusal of this description, he took his departure, more entirely depressed in spirits than I had ever known the good gentleman before.
73. “Oh, yes.” The Prefect then pulled out a notebook and began to read a detailed description of the internal and external features of the missing document. Shortly after finishingNote the patronizing "nice guy." the reading, he left, feeling more down than I had ever seen him before.
74. In about a month afterwards he paid us another visit, and found us occupied very nearly as before. He took a pipe and a chair, and entered into some ordinary conversation. At length I said:
74. About a month later, he came to see us again and found us pretty much the same as before. He grabbed a pipe and a chair and made some small talk. Eventually, I said:
75. “Well, but G——, what of the purloined letter? I presume you have at last made up your mind that there is no such thing as overreaching the minister?”
75. “Well, but G——, what about the stolen letter? I assume you've finally decided that there's no way to outsmart the minister?”
76. “Confound him, say I—yes; I made the reëxamination, however, as Dupin suggested—but it was all labor lost, as I knew it would be.”
76. “Damn him, I say—yes; I did the reexamination, as Dupin suggested—but it was all a waste of time, as I knew it would be.”
[Pg 89]
[Pg 89]
77. “How much was the reward offered, did you say?” asked Dupin.
77. “How much was the reward you mentioned?” Dupin asked.
78. “Why, a very great deal—a very liberal reward—I don’t like to say how much precisely; but one thing I will say, that I wouldn’t mind giving my individual check for fifty thousand francs to any one who would obtain me that letter. The fact is, it is becoming of more and more importance every day; and the reward has been lately doubled. If it were trebled, however, I could do no more than I have done.”
78. “Well, a huge amount—a very generous reward—I don’t want to say exactly how much; but one thing I will say is that I wouldn’t hesitate to write a check for fifty thousand francs to anyone who could get me that letter. The truth is, it’s becoming more and more important every day; and the reward has recently been doubled. Even if it were tripled, though, I couldn’t do any more than I’ve already done.”
79. “Why, yes,” said Dupin drawlingly, between the whiffs of his meerschaum, “I really—think, G——, you have not exerted yourself—to the utmost in this matter. You might—do a little more, I think, eh?”
79. “Well, yes,” Dupin said slowly, taking puffs from his meerschaum, “I really think, G——, that you haven’t put in your full effort on this. You could do a bit more, don’t you think?”
80. “How?—in what way?”
“How?—in what way?”
Illustrative anecdote of Dr. John Abernethy, the English surgeon.
81. “Why [puff, puff], you might [puff, puff] employ counsel in the matter, eh? [puff, puff, puff] Do you remember the story they tell of Abernethy?”
81. “Why, you could get some advice on this, right? Do you remember the story about Abernethy?”
82. “No; hang Abernethy!”
“No; forget Abernethy!”
83. “To be sure! hang him and welcome. But once upon a time, a certain rich miser conceived the design of sponging upon this Abernethy for a medical opinion. Getting up, for this purpose, an ordinary conversation in a private company, he insinuated his case to the physician as that of an imaginary individual.”
83. "Of course! Hang him and welcome. But once, a certain rich miser thought about getting a free medical opinion from Abernethy. To do this, he set up a casual conversation in a private gathering and subtly presented his case to the physician as if it were about a fictional person."
84. “‘We will suppose,’ said the miser, ‘that his symptoms are such[Pg 90] and such; now, doctor, what would you have directed him to take?’”
84. “‘Let’s assume,’ said the miser, ‘that his symptoms are like this and that; now, doctor, what would you have advised him to take?’”
85. “‘Take!’ said Abernethy, ‘why, take advice, to be sure.’”
85. “‘Take!’ said Abernethy, ‘Of course, take advice.’”
86. “But,” said the Prefect, a little discomposed, “I am perfectly willing to take advice, and to pay for it. I would really give fifty thousand francs to any one who would aid me in the matter.”
86. “But,” said the Prefect, a bit flustered, “I am totally open to taking advice and paying for it. I would seriously give fifty thousand francs to anyone who could help me out with this.”
87. “In that case,” replied Dupin, opening a drawer, and producing a check-book, “you may as well fill me up a check for the amount mentioned. When you have signed it, I will hand you the letter.”
87. “In that case,” Dupin replied, opening a drawer and taking out a checkbook, “you might as well write me a check for the amount we talked about. Once you sign it, I’ll give you the letter.”
88. I was astounded. The Prefect appeared absolutely thunderstricken. For some minutes he remained speechless and motionless, looking incredulously at my friend with open mouth, and eyes that seemed starting from their sockets; then, apparently recovering himself in some measure, he seized a pen, and after several pauses and vacant stares, finally filled up and signed a check for fifty thousand francs, and handed it across the table to Dupin. Climax. The latter examined it carefully and deposited it in his pocket; then, unlocking an escritoire, took thence a letter and gave it to the Prefect.The plot seems to end here, for long reasoning and explanation follow. There is, however, a second climax as Dupin’s story reaches its denouement. This functionary grasped it in a perfect agony of joy, opened it with a trembling hand, cast a rapid glance at its contents, and then, scrambling and struggling to the door, rushed at length unceremoniously from the[Pg 91] room and from the house, without having uttered a syllable since Dupin had requested him to fill up the check.
88. I was amazed. The Prefect looked completely stunned. For a few minutes, he stood there, speechless and motionless, gaping at my friend with his mouth open and eyes wide like they were going to pop out. Then, seemingly getting a grip on himself, he grabbed a pen, and after several pauses and blank stares, he finally filled out and signed a check for fifty thousand francs and handed it over to Dupin. Climax. Dupin examined it carefully and put it in his pocket; then, opening a drawer, he took out a letter and gave it to the Prefect.The plot appears to end here, as it proceeds with extensive reasoning and explanation. However, there is a second climax as Dupin’s story approaches its resolution. The Prefect took it with an overwhelming sense of joy, opened it with shaking hands, quickly glanced at its contents, and then, scrambling toward the door, rushed out of the room and the house without saying a word since Dupin had asked him to fill out the check.
89. When he had gone, my friend entered into some explanations.
89. After he left, my friend started explaining some things.
90. “The Parisian police,” he said, “are exceedingly able in their way. They are persevering, ingenious, cunning, and thoroughly versed in the knowledge which their duties seem chiefly to demand. Thus, when G—— detailed to us his mode of searching the premises at the Hotel D——, I felt entire confidence in his having made a satisfactory investigation—so far as his labors extended.”
90. “The Parisian police,” he said, “are really skilled at what they do. They are persistent, clever, resourceful, and completely knowledgeable about the things their jobs require. So, when G—— explained his approach to searching the premises at the Hotel D——, I was completely confident that he had conducted a thorough investigation—at least within the scope of his work.”
91. “So far as his labors extended?” said I.
91. “As far as his work went?” I said.
92. “Yes,” said Dupin. “The measures adopted were not only the best of their kind, but carried out to absolute perfection. Had the letter been deposited within the range of their search, these fellows would, beyond a question, have found it.”
92. “Yeah,” Dupin said. “The methods used weren’t just the best available, but they were executed perfectly. If the letter had been anywhere within their reach, those guys would have definitely found it.”
93. I merely laughed, but he seemed quite serious in all that he said.
93. I just laughed, but he looked really serious about everything he was saying.
94. “The measures, then,” he continued, “were good in their kind, and well executed; their defect lay in their being inapplicable to the case, and to the man. A certain set of highly ingenious resources are, with the Prefect, a sort of Procrustean bed to which he forcibly adapts his designs. But he perpetually errs by being too deep or too shallow for [Pg 92] the matter in hand; and many a schoolboy is a better reasoner than Illustrative anecdote. he. I knew one about eight years of age, whose success at guessing in the game of ‘even and odd’ attracted universal admiration. This game is simple, and is played with marbles. One player holds in his hand a number of these toys, and demands of another whether that number is even or odd. If the guess is right, the guesser wins one; if wrong, he loses one. The boy to whom I allude won all the marbles of the school. Of course he had some principle of guessing; and this lay in mere observation and admeasurement of the astuteness of his Joint inductive-deductive method of reasoning. opponents. For example an arrant simpleton is his opponent, and, holding up his closed hand asks, ‘Are they even or odd?’ Our schoolboy replies, ‘Odd,’ and loses; but upon the second trial he wins, for he then says to himself, ‘The simpleton had them even upon the first trial, and his amount of cunning is just sufficient to make him have them odd upon the second; I will therefore guess odd;’ he guesses odd, and wins. Now, with a simpleton a degree above the first, he would have reasoned thus: ‘This fellow finds that in the first instanceInductive reasoning. I guessed odd, and in the second he will propose to himself, upon the first impulse, a simple variation from even to odd, as did the first simpleton; but then a second thought will suggest that this is too simple a variation, and finally he will decide upon putting[Pg 93] it even as before. I will therefore guess even;’ he guesses even, and wins. Now this mode of reasoning in the schoolboy, whom his fellows term ‘lucky’—what, in its last analysis, is it?”
94. “So then,” he went on, “the measures were effective in their way and well done; their flaw was that they didn’t apply to the situation or the person involved. The Prefect has a set of clever strategies that he forces onto his plans like a Procrustean bed. But he often makes the mistake of being either too complicated or too simple for the matter at hand; many a schoolboy could reason better than he could. I know one boy, about eight years old, whose skill at guessing in the game of ‘even and odd’ amazed everyone. This game is straightforward and played with marbles. One player hides a certain number of these marbles in their hand and asks another whether that number is even or odd. If the guess is correct, the guesser wins a marble; if incorrect, they lose one. The boy I’m mentioning won all the marbles at school. Of course, he had a strategy for guessing, which relied purely on observing and measuring the cleverness of his opponents. For example, if a complete fool is his opponent, and the opponent asks, ‘Are they even or odd?’ our schoolboy might guess ‘Odd’ and lose. But on the second try, he wins because he thinks, ‘The fool had them even the first time, and his level of cleverness is just enough to switch them to odd this time; therefore, I’ll guess odd again.’ He guesses odd and wins. Now, if he faced a fool just a bit smarter, he would reason like this: ‘This guy saw that I guessed odd the first time, so he’ll think of making a simple change from even to odd, just like the first fool. But then, he might realize that’s too obvious and will decide to keep it even, just like before. Therefore, I’ll guess even.’ He guesses even and wins. Now, regarding this way of reasoning in the schoolboy, whom his friends call ‘lucky’—what, in the end, does it really amount to?”
95. “It is merely,” I said, “an identification of the reasoner’s intellect with that of his opponent.”
95. “It’s just,” I said, “a way of identifying the thinker’s mind with that of their opponent.”
96. “It is,” said Dupin; “and, upon inquiring of the boy by what means he effected the thorough identification in which his success consisted, I received answer as follows: ‘When I wish to find out how wise, or how stupid, or how good, or how wicked is any one, or what are his thoughts at the moment, I fashion the expression of my face, as accurately as possible,Compare with Barrie’s statement on p. 217. in accordance with the expression of his, and then wait to see what thoughts or sentiments arise in my mind or heart, as if to match or correspond with the expression.’ This response of the schoolboy lies at the 1 and 2, French authors and moralists; 3, astute Italian statesman; 4, Italian thinker. bottom of all the spurious profundity which has been attributed to Rochefoucauld, to La Bruyère, to Machiavelli, and to Campanella.”
96. "It is," Dupin said, "and when I asked the boy how he managed to pull off such a complete identification that led to his success, he responded like this: 'Whenever I want to figure out how smart, or how foolish, or how good, or how evil someone is, or what their thoughts are at that moment, I try to mimic the expression on my face as closely as possible to theirs, and then I wait to see what thoughts or feelings pop up in my mind or heart, as if to align or connect with their expression.' This reply from the schoolboy is at the core of all the fake depth that has been assigned to Rochefoucauld, La Bruyère, Machiavelli, and Campanella."
97. “And the identification,” I said, “of the reasoner’s intellect with that of his opponent’s, depends, if I understand you aright, upon the accuracy with which the opponent’s intellect is admeasured.”
97. “And the identification,” I said, “of the reasoner’s intellect with that of his opponent’s relies, if I’m understanding you correctly, on how accurately the opponent’s intellect is measured.”
Observe how fond Poe is of long paragraphs.
98. “For its practical value it depends upon this,” replied Dupin, “and the Prefect and his cohort fail so frequently, first, by default of this[Pg 94] identification, and secondly, by ill-admeasurement, or rather through non-admeasurement, of the intellect with which they are engaged. They consider only their own ideas of ingenuity; and, in searching for anything hidden, advert only to the modes in which they would have hidden it. They are right in this much—that their own ingenuity is a faithful representative of that of the mass; but when the cunning of the individual felon is diverse in character from their own, the felon foils them, of course. This always happens when it is above their own, and very usually when it is below. They have no Astute comment. variation of principle in their investigations; at best, when urged by some unusual emergency, by some extraordinary reward, they extend or exaggerate their old modes of practice, without touching their principles. What, for example, in this case of D——, has been done to vary the principle of action? What is all this Note the length of this paragraph. boring, and probing, and sounding, and scrutinizing with the microscope, and dividing the surface of the building into registered square inches—what is it all but an exaggeration of the application of the one principle or set of principles of search, which are based upon the one set of notions regarding human ingenuity, to which the Prefect, in the long routine of his duty, has been accustomed? Do you not see he has taken it for granted that all men proceed to conceal a letter—not[Pg 95] exactly in a gimlet-hole bored in a chair leg—but, at least, in some out of the way hole or A cumbersomely long sentence. corner suggested by the same tenor of thought which would urge a man to secrete a letter in a gimlet-hole bored in a chair leg? And do you not see, also, that such recherchés nooks for concealment are adapted only for ordinary occasions and would be adopted only byRecherchés—carefully sought out. ordinary intellects; for, in all cases of concealment, a disposal of the article concealed—a disposal of it in this recherché manner—is, in the very first instance, presumable and presumed; and thus its discovery depends, not at all upon the acumen, but altogether upon the mere care, patience, and determination of the seekers; and where the case is of importance—or, what amounts to the same thing in policial eyes, when the reward is of magnitude—the qualities in question have never been known to fail. You will now understand what I meant in suggesting that, had the purloined letter been hidden anywhere within the limits of the Prefect’s examination—in other words, had the principle of its concealment Note force of “hidden.” been comprehended within the principles of the Prefect, its discovery would have been a matter altogether beyond question. This functionary, however, has been thoroughly mystified; and the remote source of his defeat lies in the supposition that the minister is a fool because he has [Pg 96] acquired renown as a poet. All fools “The undistributed middle” is a form of logical fallacy. are poets; this the Prefect feels; and he is merely guilty of a non distributio medii in thence inferring that all poets are fools.”
98. “Its practical value comes down to this,” Dupin replied, “and the Prefect and his team fail so often, first because they lack this identification, and secondly, because they misjudge, or rather fail to gauge, the intellect involved. They only consider their own ideas of cleverness; and when searching for something hidden, they only think of the ways they would hide it themselves. They’re right in thinking their own cleverness reflects that of the majority; but when the cunning of the individual criminal is different from theirs, the criminal outsmarts them. This typically occurs when it's more clever than theirs, and often when it’s less. They have no variation in their investigation principles; at best, when faced with unusual circumstances or a significant reward, they just extend or exaggerate their old methods of practice, without changing their core principles. For instance, what has been done in this case of D—— to change the fundamental approach? All this boring, probing, and scrutinizing with a microscope, and dividing the building's surface into registered square inches—what is it except an exaggeration of applying the same one principle or set of principles of searching, which the Prefect has grown accustomed to in his long routine of duty? Can’t you see that he assumes all men conceal a letter—not exactly in a small hole bored into a chair leg—but at least in some out-of-the-way spot suggested by the same way of thinking that would lead someone to hide a letter in a hole in a chair leg? And don’t you see that such carefully sought spots for hiding things are only suitable for ordinary situations and would only be chosen by ordinary minds? In all cases of concealment, hiding the item in this clever manner is generally presumed, and thus its discovery relies not on sharpness, but on the mere care, patience, and determination of the seekers; and when the stakes are high—or what amounts to the same thing in police terms, when the reward is significant—these qualities have never been known to fail. You will now understand what I meant when I suggested that had the stolen letter been hidden anywhere within the Prefect’s search area—in other words, had the principle of its concealment fit within the Prefect’s understanding, its discovery would have been unquestionable. However, this official has been completely baffled; and the root of his failure lies in his assumption that the minister is a fool because he is famous as a poet. All fools are poets; the Prefect feels this, and he is simply guilty of a logical fallacy by inferring that all poets are fools.”
99. “But is this really the poet?” I asked. “There are two brothers, I know; and both have attained reputation in letters. The minister, I believe, has written learnedly on the Differential Calculus. He is a mathematician and no poet.”
99. “But is this really the poet?” I asked. “There are two brothers, I know; both have made a name for themselves in literature. The minister, I think, has written extensively on Differential Calculus. He’s a mathematician, not a poet.”
100. “You are mistaken; I know him well; he is both. As poet and mathematician he would reason well; as mere mathematician he could not have reasoned at all, and thus would have been at the mercy of the Prefect.”
100. “You’re wrong; I know him well; he is both. As a poet and a mathematician, he could reason effectively; as just a mathematician, he wouldn't have been able to reason at all, leaving him vulnerable to the Prefect.”
101. “You surprise me,” I said, “by these opinions, which have been contradicted by the voice of the world. You do not mean to set at naught the well-digested idea of centuries. The mathematical reason has long been regarded as the reason par excellence.”
101. “You surprise me,” I said, “with these opinions, which have been challenged by what everyone else thinks. You don’t intend to undermine the well-established ideas of centuries. The mathematical reason has long been seen as the ultimate reason.”
102. “‘Il y a à parier,’” replied Dupin, quoting from Chamfort, “‘que toute idée publique, toute convention reçue, est une sottise, car elle a convenu au plus grand nombre.’ The mathematicians, I grant you, have done their best to promulgate the popular error to which you allude, and which is none the less an error for its promulgation as truth. With an art worthy a better cause, for example, they have insinuated the [Pg 97] term ‘analysis’ into application to This whole section of the story triumphs notwithstanding its undue length of learned discussion and its formal diction. It must be admitted that in these respects the present-day short-story is in advance of Poe. A number of paragraphs here fail to advance the narration as fiction. algebra. The French are the originators of this practical deception; but if a term is of any importance—if words derive any value from applicability—then ‘analysis’ conveys ‘algebra,’ about as much as, in Latin, ‘ambitus’ implies ‘ambition,’ ‘religio,’ ‘religion,’ or ‘homines honesti,’ a set of honorable men.”
102. “‘It’s safe to bet,’” replied Dupin, quoting Chamfort, “‘that every public idea, every accepted convention, is nonsense because it has been agreed upon by the majority.’ I’ll admit that mathematicians have done their best to spread the popular misconception you’re talking about, and it doesn’t become any less of an error just because it’s been declared a truth. With a skill that deserves a better purpose, for example, they’ve slipped the term ‘analysis’ into their application of algebra. The French are the original creators of this practical deception; but if a term matters at all—if words gain any value from how they’re used—then ‘analysis’ conveys ‘algebra’ just as much as, in Latin, ‘ambitus’ means ‘ambition,’ ‘religio’ means ‘religion,’ or ‘homines honesti’ refers to a set of honorable men.”
103. “You have a quarrel on hand, I see,” said I, “with some of the algebraists of Paris; but proceed.”
103. “I see you have a conflict going on,” I said, “with some of the algebraists in Paris; but go on.”
104. “I dispute the availability, and thus the value of that reason which is cultivated in any especial form other than the abstractly logical. I dispute, in particular, the reason educed by mathematical study. Unusual form. Throughout, note Poe’s unusual choice of words. The mathematics are the science of form and quantity; mathematical reasoning is merely logic applied to observation upon form and quantity. The great error lies in supposing that even the truths of what is called pure algebra are abstract or general truths. And this error is so egregious that I am confounded at the universality with which it has been received. Mathematical axioms are not axioms of general truth. What is true of relation—of form and quantity—is often grossly false in regard to morals, for example. In this latter As a piece of pure reasoning this long treatise is not without its defects, but it does bring out—though too laboriously to please—the point at which Dupin is driving. science it is very usually untrue that the aggregated parts are equal to the whole. In chemistry, also, the axiom fails. In the consideration of motive it fails; for two motives, each of a[Pg 98] given value, have not, necessarily, a value when united equal to the sum of their values apart. There are numerous other mathematical truths which are only truths within the limits of relation. But the mathematician argues, from his finite truths, through habit, as if they were of an absolutely general applicability—as the world indeed imagines them to be. Jacob Bryant.Bryant, in his very learned ‘Mythology,’ mentions an analogous source of error, when he says that ‘although the Pagan fables are not believed, yet we forget ourselves continually, and make inferences from them as existing realities.’ He speaks figuratively. With the algebraists, however, who are Pagans themselves, the ‘Pagan fables’ are believed and the inferences are made, not so much through lapse of memory as through an unaccountable addling of the brains. In short, I never yet encountered the mere mathematician who could be trusted out of equal roots, or one who did not clandestinely hold it as a point of his faith A striking satire. that x2 + px was absolutely and unconditionally equal to q. Say to one of these gentlemen, by way of experiment, if you please, that you believe occasions may occur where x2 + px is not altogether equal to q, More satire. and, having made him understand what you mean, get out of his reach as speedily as convenient, for beyond doubt he will endeavor to knock you down.”
104. “I question the usefulness and therefore the value of any reasoning that isn't purely logical. Specifically, I challenge the reasoning that comes from studying mathematics. Uncommon style. Pay close attention to Poe’s unique word choices throughout. Mathematics is the science of shapes and quantities; mathematical reasoning is just logic applied to observation of shapes and quantities. The major mistake lies in thinking that even the truths of what is called pure algebra are abstract or universal truths. This mistake is so blatant that I'm amazed by how widely it has been accepted. Mathematical axioms are not axioms of universal truth. What is true about relation—about shapes and quantities—can often be completely false regarding morals, for example. In this latter As a work of pure reasoning, this lengthy essay has its flaws, but it does highlight—though in a way that's a bit too complicated for comfort—the point that Dupin is trying to make. science, it’s often false that the combination of parts equals the whole. The same goes for chemistry, where the axiom fails. When considering motives, it fails too; two motives, each having a [Pg 98] specified value, do not necessarily combine to create a value equal to the sum of their individual values. There are many other mathematical truths that hold only within the constraints of relation. Yet, the mathematician argues, out of habit, as if his finite truths had general application—just as the world tends to think they do. Jacob Bryant. Bryant, in his very scholarly ‘Mythology,’ points out a similar source of error when he says that ‘although people do not believe in Pagan fables, we continuously forget ourselves and draw conclusions from them as if they were real.’ He speaks in metaphors. However, the algebraists, who are essentially Pagans themselves, actively believe in these ‘Pagan fables’ and make inferences not simply from forgetfulness but from some inexplicable confusion in their thinking. In short, I've never met a mathematician who could be trusted beyond simple equations, nor one who didn’t secretly hold as an article of faith A bold satire. that x2 + px is absolutely and unconditionally equal to q. If you were to tell one of these gentlemen, just to see how he reacts, that you believe there might be situations where x2 + px is not exactly equal to q, More sarcasm. and, once you've made your point clear, quickly get out of his way, because he will undoubtedly try to attack you.”
[Pg 99]
[Pg 99]
105. “I mean to say,” continued Dupin,
while I merely laughed at his
last observations, “that if the minister
had been no more than a mathematician
the Prefect would have been
under no necessity of giving me this
check. I knew him, however, as both
mathematician and poet, and my
measures were adapted to his capacity
with reference to the circumstances
by which he was surrounded. A return from the special
argument to the practical.
Application of the foregoing
principles.
I knew him as courtier, too, and as
a bold intriguant. Such a man, I
considered, could not fail to be aware
of the ordinary policial modes of
action. He could not have failed to
anticipate—and events have proved
that he did not fail to anticipate—the
waylayings to which he was subjected.
He must have foreseen, I
reflected, the secret investigations of
his premises. A difficult point explained. His frequent absences
from home at night, which were hailed
by the Prefect as certain aids to his
success, I regarded only as ruses, to
afford opportunity for thorough
search to the police, and thus the
sooner to impress them with the
conviction to which G——, in fact, Note the unusual use of
“to,” instead of “at.”
did finally arrive—the conviction
that the letter was not upon the
premises. I felt, also, that the whole
train of thought, which I was at some
pains in detailing to you just now,
concerning the invariable principle of
policial action in searches for articles
concealed—I felt that this whole Is this probable?
train of thought would necessarily
pass through the mind of the minister.
[Pg 100]
It would imperatively lead him
to despise all the ordinary nooks of
concealment. Compare ¶95.He could not, I reflected,
be so weak as not to see that
the most intricate and remote recess
of his hotel would be as open as his
commonest closets to the eyes, to the
probes, to the gimlets, and to the
microscopes of the Prefect. I saw,
in fine, that he would be driven, as a
matter of course, to simplicity, if not
deliberately induced to it as a matter
of choice. You will remember,
perhaps, how desperately the Prefect
laughed when I suggested, upon our Key. Compare ¶10.
first interview, that it was just possible
this mystery troubled him so
much on account of its being so
very self-evident.”
105. “What I mean,” Dupin continued, while I just laughed at his last comments, “is that if the minister was only a mathematician, the Prefect wouldn’t have needed to give me this check. I knew him as both a mathematician and a poet, and my methods were tailored to his abilities considering his situation. A shift from theoretical discussion to practical application.
Implementation of the principles mentioned earlier. I also knew him as a courtier and a bold schemer. I figured that a man like him wouldn’t miss the typical ways police operate. He must have seen coming—the events proved that he did see coming—the ambushes he was facing. I thought he must have anticipated the secret searches of his home. A tough point explained. His frequent nights away from home, which the Prefect saw as certain advantages for his success, I considered simply tricks to give the police a chance to search thoroughly, thereby convincing them of what G——, in fact, Please modernize the following text into contemporary English while maintaining its meaning. Do not omit or add information, and refrain from providing commentary. If you notice placeholders like __A_TAG_PLACEHOLDER_0__, do not change them in any way. Keep them exactly as they are so they can be replaced with links later.
Note the odd use of "to" instead of "at." eventually concluded—the belief that the letter wasn’t there. I also sensed that the entire line of reasoning I was just detailing for you, about the usual principle of police action in searches for hidden items—I felt that this whole Is this likely? line of reasoning would definitely go through the minister’s mind. [Pg 100] It would force him to overlook all the typical hiding spots. Compare __A_TAG_PLACEHOLDER_0__. I thought he couldn’t be so naive as not to realize that the most complex and hidden parts of his hotel would be as accessible to the eyes, the probes, the gimlets, and the microscopes of the Prefect as his usual closets. In the end, I saw that he would be naturally pushed towards simplicity, if not deliberately led to that choice. You might remember how hard the Prefect laughed when I suggested, during our Key. Compare __A_TAG_PLACEHOLDER_0__. first meeting, that it was possibly this mystery troubled him so much because it was so very obvious.”
106. “Yes,” said I, “I remember his merriment well. I really thought he would have fallen into convulsions.”
106. “Yeah,” I said, “I remember his laughter clearly. I honestly thought he was going to choke.”
107. “The material world,” continued Dupin, “abounds with very strict analogies to the immaterial; and thus some color of truth has been given to the rhetorical dogma, that metaphor, or simile, may be made to strengthen an argument, as well as to embellish a description. The principle of the vis inertiæ, Force of inertia. for example, seems to be identical in physics and metaphysics. It is not more true in the former, that a large body is with more difficulty set in motion than a smaller one, and that its subsequent momentum is commensurate with this difficulty, than it[Pg 101] is, in the latter, that intellects of the vaster capacity, while more forcible, more constant, and more eventful in their movements than those of inferior grade, are yet the less readily moved, and more embarrassed and full of hesitation in the first few steps of their progress. This inquiry is the heart of the inference. Again: have you ever noticed which of the street signs over the shop doors are the most attractive of attention?”
107. “The material world,” continued Dupin, “has many clear similarities to the immaterial; and this gives some validity to the rhetorical idea that metaphors or similes can strengthen an argument as well as enhance a description. For instance, the principle of the vis inertiæ, Inertia. seems to apply not only in physics but also in metaphysics. It’s just as true in the former that a larger body is harder to move than a smaller one, and that its subsequent momentum relates to this difficulty, as it is in the latter that greater intellects, while being more powerful, consistent, and significant in their actions than those of lesser ability, are also less easily set in motion and more hesitant in their initial steps of progress. This question is central to the conclusion. By the way: have you ever noticed which of the street signs above shop doors catch your attention the most?”
108. “I have never given the matter a thought,” I said.
108. “I’ve never really thought about it,” I said.
109. “There is a game of puzzles,” he resumed, “which is played upon a map. One party playing requires another to find a given word—the name of town, river, state, or empire—any word, in short, upon the motley and perplexed surface of the chart. Note the diction. A novice in the game generally seeks to embarrass his opponents by giving them the most minutely lettered names; but the adept selects such words as stretch in large characters from one end of the chart to the other. These, like the over-largely lettered signs and placards of the street, escape observation by dint of being excessively obvious; and here the physical oversight is precisely analogous with the moral inapprehension by which the intellect suffers to pass unnoticed those considerations which are too obtrusively and too palpably self-evident. But Compare ¶94 and ¶98. this is a point, it appears, somewhat above or beneath the understanding of the Prefect. He never once [Pg 102] thought it probable, or possible, that Summary of ”accusation” against the Prefect’s sagacity. the minister had deposited the letter immediately beneath the nose of the whole world, by way of best preventing any portion of that world from perceiving it.
109. “There’s a game of puzzles,” he continued, “that’s played on a map. One group playing challenges another to find a specific word—the name of a town, river, state, or empire—basically any word on the confusing and varied surface of the chart. Understood. Please provide the text you'd like me to modernize. A beginner in the game usually tries to stump their opponents by choosing the smallest printed names; but an expert picks words that are printed in large letters stretching from one side of the chart to the other. These, like the oversized signs and posters you see on the street, go unnoticed because they are too obvious; and here, the physical oversight is exactly like the moral blindness that makes the mind overlook those things that are too glaringly clear. But Compare __A_TAG_PLACEHOLDER_0__ and __A_TAG_PLACEHOLDER_1__. this seems to be a concept that’s a bit too much or too little for the Prefect to grasp. He never thought it likely or even possible that Summary of the "accusation" against the Prefect's intelligence. the minister had placed the letter right under the noses of everyone, as a way to make sure no one noticed it.
110. “But the more I reflected upon the daring, dashing, and discriminating ingenuity of D——; upon the fact that the document must always have been at hand, if he intended to use it to good purpose; and upon the decisive evidence, obtained by the Prefect, that it was not hidden within the limits of that dignitary’s ordinary search—the more satisfied Climax of Dupin’s inferential reasoning. I became that, to conceal this letter, the minister had resorted to the comprehensive and sagacious expedient of not attempting to conceal it at all.
110. “But the more I thought about the bold, stylish, and clever ingenuity of D——; about the fact that the document must have always been available, if he wanted to use it effectively; and about the strong evidence gathered by the Prefect, proving it wasn’t hidden within the usual scope of that official’s search—the more convinced Climax of Dupin's reasoning. I became that, to hide this letter, the minister had used the smart and comprehensive tactic of not trying to hide it at all.
Dupin's Story Incident.
From this point the narration is free from the formalities of expression which mar the central section of the story. These, however, were a characteristic of Poe and his era.
111. “Full of these ideas, I prepared myself with a pair of green spectacles, and called one fine morning, quite by accident, at the ministerial hotel. I found D—— at home, yawning, lounging, and dawdling, as usual, and pretending to be in the last extremity of ennui. He is, perhaps, the most really energetic humanNote the use of “now.” being now alive—but that is only when nobody sees him.
111. “Filled with these thoughts, I got ready with a pair of green glasses and happened to drop by the ministerial hotel one lovely morning. I found D—— at home, yawning, lounging around, and wasting time as usual, all while acting like he was completely bored out of his mind. He might be the most genuinely energetic person alive right now—but that’s only when no one is watching him.”
112. “To be even with him, I complained of my weak eyes, and lamented the necessity of the spectacles, under cover of which I cautiously and thoroughly surveyed the whole apartment, while seemingly intent only upon the conversation of my host.
112. “To get back at him, I pretended to complain about my poor eyesight and lamented the need for glasses, all while carefully and completely checking out the entire room, as if I was just focused on my host's conversation.”
113. “I paid especial attention to[Pg 103] a large writing-table near which he sat, and upon which lay confusedly some miscellaneous letters and other papers, with one or two musical instruments and a few books. Here, however, after a long and very deliberate scrutiny, I saw nothing to excite particular suspicion.
113. “I focused carefully on[Pg 103] a large writing desk where he sat, and on it were scattered various letters and other papers, along with one or two musical instruments and a few books. However, after a long and thorough inspection, I didn’t find anything that raised any particular suspicion.
114. “At length my eyes, in going the circuit of the room, fell upon a trumpery filigree card-rack of paste-board, that hung dangling, by a dirty blue ribbon, from a little brass knob just beneath the middle of the mantelpiece. In this rack, which had three or four compartments, were five or six visiting cards and a solitary letter. This last was much soiled and crumpled. It was torn nearly in two, across the middle—as if a design, in the first instance, to tear it entirely up as worthless had been altered, or stayed, in the second. It had a large black seal, bearing the D—— cipher very conspicuously, and was addressed, in a diminutive female hand, to D——, the minister himself. It was thrust carelessly, and even, as it seemed, contemptuously, into one of the uppermost divisions of the rack.
114. “Eventually, as I scanned the room, my eyes landed on a cheap, decorative card rack made of cardboard, hanging loosely by a dirty blue ribbon from a small brass knob just below the center of the mantelpiece. In this rack, which had three or four sections, there were five or six visiting cards and a single letter. The letter was quite dirty and crumpled. It was almost torn in half across the middle—as if there had originally been an intention to completely destroy it as useless, but that plan had changed. It had a large black seal prominently featuring the D—— cipher and was addressed, in a tiny feminine handwriting, to D——, the minister himself. It had been shoved carelessly, and even seemed disrespectfully, into one of the top sections of the rack.
115. “No sooner had I glanced at this letter than I concluded it to be that of which I was in search. To be sure, it was, to all appearance, radically different from the one of which the Prefect had read us so minute a description. Here the seal was large and black, with the D—— cipher; there it was small and red,[Pg 104] with the ducal arms of the S—— family. Here the address, to the minister, was diminutive and feminine; there, the superscription, to a certain royal personage, was markedly bold and decided; the size alone formed a point of correspondence.It was the custom in earlier times simply to fold a letter, seal it with a wafer, and address it on the back, which was allowed to remain otherwise blank. This accounts for there being no reference to an envelope, and also for the refolding of the letter. But, then, the radicalness of these differences, which was excessive; the dirt, the soiled and torn condition of the paper, so inconsistent with the true methodical habits of D——, and so suggestive of a design to delude the beholder into an idea of the worthlessness of the document; these things, together with the hyper-obtrusive situation of this document, full in the view of every visitor, and thus exactly in accordance with the conclusions to which I had previously arrived; these things, I say, were strongly corroborative of suspicion, in one who came with the intention to suspect.
115. “As soon as I glanced at this letter, I knew it was the one I was looking for. It definitely seemed, on the surface, completely different from the one the Prefect had described in such detail. Here, the seal was large and black with the D—— cipher; there, it was small and red, featuring the ducal arms of the S—— family. Here, the address to the minister was small and feminine; there, the address to a certain royal figure was bold and decisive; the only point of similarity was the size. [Pg 104] In the past, people often just folded a letter, sealed it with a wafer, and wrote the address on the back, leaving the rest of it blank. This is why there was no envelope and the letter was refolded. However, the sheer difference was striking; the dirt and the soiled and torn state of the paper were totally inconsistent with the typical methodical habits of D——, suggesting an intent to trick the viewer into thinking the document was worthless. All these factors, combined with the very obvious placement of the document, clearly in view for every visitor, aligned perfectly with the conclusions I had reached earlier. So, I was left with a strong sense of suspicion, especially coming in with the intention to be suspicious.”
116. “I protracted my visit as long as possible, and while I maintained a most animated discussion with the minister, upon a topic which I knew well had never failed to interest and excite him, I kept my attention really riveted upon the letter. In this examination, I committed to memory its external appearance and arrangement in the rack; and also fell, at length, upon a discovery which set at rest whatever trivial doubt I might have entertained. Note use of “fold” and its derivatives. In scrutinizing the edges of the paper, I observed them to be more chafed than seemed necessary.[Pg 105] They presented the broken appearance which is manifested when a stiff paper, having been once folded and pressed with a folder, is refolded in a reversed direction, in the same creases or edges which had formed the original fold. This discovery was sufficient. It was clear to me that the letter had been turned, as a glove, inside out, re-directed, and re-sealed.A good device. I bade the minister good-morning, and took my departure at once, leaving a gold snuff-box upon the table.
116. “I extended my visit as long as I could, and while I had a lively conversation with the minister on a topic I knew always interested him, my focus was really on the letter. During this time, I memorized its appearance and how it was arranged in the rack. Eventually, I made a discovery that put to rest any small doubts I had. Sure! Please provide the text you would like me to modernize. When examining the edges of the paper, I noticed they were more worn than necessary.[Pg 105] They had a damaged look, which happens when a stiff paper is folded and then refolded in the opposite direction along the same creases or edges of the original fold. This discovery was enough. It became clear to me that the letter had been turned inside out, redirected, and resealed like a glove.A great device. I said good morning to the minister and left immediately, leaving a gold snuff-box on the table.
117. “The next morning I called for the snuff-box, when we resumed, quite eagerly, the conversation of the preceding day. While thus engaged, however, a loud report, as if of a pistol, was heard immediately beneath the windows of the hotel, and was succeeded by a series of fearful screams, and the shoutings of a mob. D—— rushed to a casement, threw it open, and looked out. In the meantime, I stepped to the card-rack, took the letter, put it in my pocket, and replaced it by a facsimile (so far as regards externals) which I had carefully prepared at my lodgings—imitating the D—— cipher very readily by means of a seal formed of bread.
117. “The next morning, I asked for the snuff-box and we eagerly jumped back into our conversation from the day before. While we were chatting, though, we suddenly heard a loud bang, like a pistol shot, right outside the hotel windows, followed by a series of terrible screams and the shouts of a crowd. D—— rushed to a window, threw it open, and looked outside. In the meantime, I walked over to the card holder, took the letter, put it in my pocket, and replaced it with a facsimile (at least in appearance) that I had carefully prepared at my place—quickly mimicking the D—— cipher using a seal made out of bread.
118. “The disturbance in the street had been occasioned by the frantic behavior of a man with a musket. He had fired it among a crowd of women and children. It proved, however, to have been without ball,[Pg 106] and the fellow was suffered to go his way as a lunatic or a drunkard.Note how the climax of Dupin’s story also serves as the climax of the Prefect’s earlier statement of the problem and his efforts to solve it. When he had gone, D—— came from the window, whither I had followed him immediately upon securing the object in view. Soon afterwards I bade him farewell. The pretended lunatic was a man in my own pay.”
118. "The uproar in the street happened because a man with a musket was acting wildly. He fired it into a crowd of women and children. Fortunately, it turned out to be empty, and he was allowed to leave, seen as either insane or drunk. [Pg 106] When he left, D—— stepped away from the window, where I had followed him right after securing what we needed. Soon after, I said goodbye to him. The supposed lunatic was actually someone I was paying." Notice how the climax of Dupin’s story also acts as the climax of the Prefect’s earlier description of the problem and his attempts to resolve it.
119. “But what purpose had you,” I asked, “in replacing the letter by a facsimile? Would it not have been better, at the first visit, to have seized it openly and departed?”
119. “But what was your reason,” I asked, “for replacing the letter with a facsimile? Wouldn't it have been better to take it openly during the first visit and just leave?”
120. “D——,” replied Dupin, “is a desperate man, and a man of nerve. His hotel, too, is not without attendants devoted to his interest. Had I made the wild attempt you suggest I might never have left the ministerial presence alive. The good people of Paris might have heard of me no more. But I had an object apart from these considerations. You know my political prepossessions. In this matter I act as a partisan of the lady concerned. For eighteen months the minister has had her in his power. She has now him in hers—since, being unaware that the letter is not in his possession, he will proceed with his exactions as if it was.Is “was” correct? Thus will he inevitably commit himself at once to his political destruction. His downfall, too, will not be more precipitate than awkward. The descent to Avernus (the fabled entrance to the Infernal Regions) is easy. It is all very well to talk about the facilis descensus Averni; but in all kinds of climbing, as Catalani said of singing, it is far[Pg 107] more easy to get up than to come down. In the present instance I have no sympathy—at least no pity—for him who descends. He is that monstrum horrendum, an unprincipled man of genius. I confess, Monster to be shuddered at. however, that I should like very well to know the precise character of his thoughts, when, being defied by her whom the Prefect terms ‘a certain personage,’ he is reduced to opening the letter which I left for him in the card-rack.”
120. “D——,” Dupin replied, “is a desperate man with a lot of guts. His hotel has staff who are committed to his interests. If I had taken the reckless move you suggest, I might not have left the minister’s presence alive. The good people of Paris might never have heard from me again. But I have a goal beyond those considerations. You know my political biases. In this matter, I’m acting as a supporter of the lady involved. For the past eighteen months, the minister has had power over her. Now she has power over him—since he doesn’t know that the letter isn’t in his possession, he will continue his demands as if it were.Is "was" correct? Thus, he will inevitably lead himself to his own political downfall. His fall will be both rapid and awkward. The way down to Avernus (the legendary entrance to the Underworld) is simple. It’s easy to talk about the facilis descensus Averni; but as Catalani said about singing, it’s much[Pg 107] easier to go up than to come down. In this case, I have no sympathy—at least no pity—for the one who falls. He is that monstrum horrendum, an unprincipled man of genius. I admit, Monster to be feared. however, that I would really like to know exactly what he’s thinking when, challenged by her whom the Prefect calls ‘a certain personage,’ he is forced to open the letter I left for him in the card-rack.”
121. “How? Did you put anything particular in it?”
121. “How? Did you add anything specific to it?”
122. “Why, it did not seem altogether right to leave the interior blank—that would have been insulting. D——, at Vienna, once did me an evil turn, which I told him, quite good-humoredly, I should remember. So, as I knew he would feel some curiosity in regard to the identity of the person who had outwitted him, I thought it a pity not to give him a clew. He is well acquainted with my MS., and I just copied into the middle of the blank sheet the words:—
122. “Well, it didn’t feel right to leave the inside blank—that would have been disrespectful. D——, in Vienna, once did something bad to me, which I told him, with a smile, I would remember. So, knowing he’d be a bit curious about who had outsmarted him, I figured it would be a shame not to give him a hint. He knows my manuscript well, so I just wrote in the middle of the blank page the words:—
‘——Un dessein si funeste,
S’il n’est digne d’Atrée, est digne de
Thyeste.’
‘——A plan so deadly,
If it’s not worthy of Atreus, it’s worthy of
Thyestes.’
They are to be found in Crébillon’s ‘Atrée.’”
They can be found in Crébillon’s ‘Atrée.’”
[Pg 108]
[Pg 108]
JACOBS AND HIS WRITINGS
William Wymark Jacobs was born in London, September 8, 1863, the son of William Gage Jacobs. He was educated at private schools, and entered the employ of the Post Office Savings Bank at sixteen. Four years later he secured a regular clerkship there. He began his literary career at the age of twenty-one with a contribution to the Blackfriars Magazine, a publication conducted by the clerks at the Post Office, and from that he was led to contributing articles to various London papers, though he retained his Civil Service position until 1899. His remarkable acquaintance with nautical subjects, and characters of the coasting trade and seaport wharves, was acquired during several years spent in Wapping, while his father was wharfinger there, as during that period the younger Jacobs was brought into contact with many seamen and wharf hands, and came to know many of them very well. In 1900 he married Agnes Eleanor Williams. Some of Jacobs’ most popular collections of stories are Many Cargoes; More Cargoes; Short Cruises; Odd Craft; Captains All; Light Freights; and The Lady of the Barge. His longer stories include A Master of Craft, Dialstone Lane; Salthaven, and At Sunwich Port.
William Wymark Jacobs was born in London on September 8, 1863, the son of William Gage Jacobs. He was educated at private schools and started working at the Post Office Savings Bank when he was sixteen. Four years later, he got a full-time clerk position there. He began his writing career at twenty-one with a piece for the Blackfriars Magazine, a publication run by Post Office clerks, and from there he went on to write articles for various London newspapers, even though he kept his Civil Service job until 1899. His extensive knowledge of nautical topics and the characters involved in coastal trade and port life came from several years spent in Wapping, where his father worked as a wharfinger. During that time, the younger Jacobs met many sailors and dock workers and formed close friendships with them. In 1900, he married Agnes Eleanor Williams. Some of Jacobs’ most popular story collections include Many Cargoes, More Cargoes, Short Cruises, Odd Craft, Captains All, Light Freights, and The Lady of the Barge. His longer stories feature A Master of Craft, Dialstone Lane, Salthaven, and At Sunwich Port.
Mr. Jacobs is known mostly by his delightfully quaint and humorous character delineations of river, shore, and sea-faring folk. The remarkable short-story given herewith, however, is of a very different sort and discloses a mastery of the weird, of the supernatural, which is not surpassed in the whole short-story field. With a sureness[Pg 109] of character-drawing which is nothing short of amazing in a humorist, he outlines scene and actors, and when the crises are reached—so completely is all visualized—we are able to infer the swift-moving climax with scarce the need of a word. “The Monkey’s Paw” is one of the most dramatically poignant stories of the supernatural ever written, and invites us to a closer study of its gifted and versatile author.
Mr. Jacobs is known mainly for his charmingly quirky and funny portrayals of river, shore, and sea-faring people. However, the incredible short story presented here is quite different and reveals a mastery of the weird and supernatural that is unmatched in the short story genre. With a remarkable ability to create characters that is surprising for a humorist, he sets the scene and introduces the characters, and when the critical moments arrive—so vividly is everything imagined—we can easily grasp the intense climax with hardly a word needed. “The Monkey’s Paw” is one of the most dramatically moving supernatural stories ever written and encourages us to take a closer look at its talented and versatile author.
It [a sea-life] is a man’s life. It teaches self-restraint and discipline and the art of governing men. It is a fine, healthy life that breeds men. All that I mean to say is that distance lends enchantment to the view, and that the essential romance and comedy of the life of those who go down to the sea in ships are intensified in the perspective of years.—W. W. Jacobs, London Daily Chronicle.
It’s a man’s life at sea. It teaches self-control, discipline, and how to lead people. It’s a great, healthy lifestyle that shapes men. What I’m really saying is that distance makes it seem more fascinating, and the true romance and humor of the lives of those who go to sea are heightened when we look back on them over the years.—W.W. Jacobs, London Daily Chronicle.
Londoners, in particular, should hail him with applause, for he has done more than make them laugh; he has added character to their river. Henceforward no one who has read Many Cargoes will look at a passing barge with an apathetic gaze. He will see before him not merely a vehicle of porterage, but a hot-bed of liquorish and acceptable sarcasm.—Academy (London).
Londoners, in particular, should give him a round of applause, because he has done more than just make them laugh; he has added personality to their river. From now on, no one who has read Many Cargoes will look at a passing barge without enthusiasm. They will see it not just as a means of transportation, but as a source of clever and entertaining sarcasm.—Academy (London).
Mr. Jacobs has two great gifts: one is the power to place a simple-minded man in a corner, excite our sympathies for him, magnify his embarrassments, and keep us engrossed all the time.... But we do not consider that herein lies Mr. Jacobs’s special distinction.... It is in his eye for character, his knowledge of a certain kind of human nature, his genius for the little touches, as we prefer to call them, that Mr. Jacobs stands out so notably. No one now writing can manage the little touches as Mr. Jacobs can, at once so naturally, so truthfully, so usefully, and so joyously.... None of them actually helps the plot, but every one of them is so much added to the characters and conditions of the story.—Ibid.
Mr. Jacobs has two amazing talents: one is his ability to put a simple-minded person in a difficult situation, stir our compassion for him, amplify his problems, and keep us fully engaged the entire time.... But we don't think this is what makes Mr. Jacobs truly special.... It's his keen eye for character, his understanding of a certain type of human nature, and his knack for those little details, which we like to call them, that makes Mr. Jacobs stand out so clearly. No one writing today can handle the little details like Mr. Jacobs does, always so naturally, so genuinely, so effectively, and so joyfully.... None of them actually advance the plot, but each one adds so much to the characters and conditions of the story.—Same source.
[Pg 110]
[Pg 110]
We cannot think of any other books with which to compare Mr. Jacobs’s, because there are none just like them. To-day a number of the best and brightest English and American writers seem to be getting their inspiration from the sea.... Each one of these has his own particular field, and in presenting the humour of the sailor’s life and environment no one approaches Mr. Jacobs.—Bookman (New York).
We can't think of any other books to compare to Mr. Jacobs's work because there really isn't anything quite like it. Nowadays, many of the best and brightest English and American writers seem to draw their inspiration from the sea... Each of these writers has their own unique focus, but when it comes to capturing the humor of a sailor's life and surroundings, no one comes close to Mr. Jacobs.—Bookman (New York).
We are acquainted with one pronounced pessimist, who maintains defiantly and aggressively that he never reads anything in the nature of modern fiction. “Except, of course,” he adds, “the short stories of W. W. Jacobs, which certainly make me laugh....” We are inclined to believe that there are a number of men who are of the same mind in regard to the work of Mr. Jacobs. Yet we do not think that his most ardent admirer, after having laid aside one of his books for three days, would be able to give more than the vaguest description of the tales contained therein. To this rule there are, however, several exceptions. “The Monkey’s Paw,” as grewsome a story as has appeared for years, was one.—Ibid.
We know someone who is a staunch pessimist and insists that he never reads anything like modern fiction. “Except, of course,” he adds, “for the short stories of W. W. Jacobs, which definitely make me laugh....” We think there are quite a few people who feel the same way about Mr. Jacobs’ work. However, we doubt that even his biggest fan, after putting one of his books down for three days, could provide more than a vague description of the stories inside. Still, there are a few exceptions to this rule. “The Monkey’s Paw,” one of the creepiest stories to come out in years, was one of them.—Same source.
FURTHER REFERENCES FOR READING ON JACOBS
FURTHER REFERENCES FOR READING ON JACOBS
Sketch of W. W. Jacobs, Current Literature, vol. 26, 117; His Work, Academy, vol. 52, 496; Living Age, vol. 218, 366; Strand, vol. 16, 676; W. W. Jacobs, Book News, vol. 19; The Little Touches (Review of A Master of Craft), Academy, vol. 59; A New Humorist, Spectator, vol. 78; More Cargoes (Review), Public Opinion, vol. 25; The Skipper’s Wooing (Review), Saturday Review, vol. 84.
Sketch of W. W. Jacobs, Current Literature, vol. 26, 117; His Work, Academy, vol. 52, 496; Living Age, vol. 218, 366; Strand, vol. 16, 676; W. W. Jacobs, Book News, vol. 19; The Little Touches (Review of A Master of Craft), Academy, vol. 59; A New Humorist, Spectator, vol. 78; More Cargoes (Review), Public Opinion, vol. 25; The Skipper’s Wooing (Review), Saturday Review, vol. 84.
[Pg 111]
[Pg 111]
FOR ANALYSIS
FOR ANALYSIS
THE MONKEY’S PAW[19]
BY W. W. JACOBS
BY W.W. JACOBS
I
I
Without, the night was cold and wet, but in the small parlour of Laburnam Villa the blinds were drawn and the fire burned brightly. Father and son were at chess, the former, who possessed ideas about the game involving radical changes, putting his king into such sharp and unnecessary perils that it even provoked comment from the white-haired old lady knitting placidly by the fire.
Outside, the night was cold and wet, but in the cozy living room of Laburnam Villa, the shades were pulled down and the fire crackled warmly. Father and son were engaged in a game of chess. The father, who had some unconventional ideas about the game, put his king in such risky and unnecessary situations that it even drew a remark from the white-haired old lady knitting calmly by the fire.
2. “Hark at the wind,” said Mr. White, who having seen a fatal mistake after it was too late, was amiably desirous of preventing his son from seeing it.
2. “Listen to the wind,” said Mr. White, who, realizing a serious mistake after it was too late, was kindly trying to keep his son from noticing it.
3. “I’m listening,” said the latter, grimly surveying the board as he stretched out his hand. “Check.”
3. “I’m listening,” said the latter, grimly looking over the board as he reached out his hand. “Check.”
4. “I should hardly think that he’d come to-night,” said his father, with his hand poised over the board.
4. “I really doubt he’ll come tonight,” said his father, with his hand hovering over the board.
5. “Mate,” replied the son.
"Bro," replied the son.
6. “That’s the worst of living so far out,” bawled Mr. White, with sudden and unlooked-for violence; “of all the beastly, slushy, out-of-the-way[Pg 112] places to live in, this is the worst. Pathway’s a bog, and the road’s a torrent. I don’t know what people are thinking about. I suppose because only two houses in the road are let, they think it doesn’t matter.”
6. “That’s the worst part of living out here,” shouted Mr. White, with unexpected anger; “out of all the disgusting, muddy, remote places to live, this is the worst. The path is a swamp, and the road is a river. I don’t know what people are thinking. I guess since only two houses on the road are rented, they think it doesn’t matter.”
7. “Never mind, dear,” said his wife, soothingly; “perhaps you’ll win the next one.”
7. “Don't worry, honey,” his wife said gently; “maybe you'll win the next one.”
8. Mr. White looked up sharply, just in time to intercept a knowing glance between mother and son. The words died away on his lips, and he hid a guilty grin in his thin grey beard.
8. Mr. White looked up quickly, just in time to catch a knowing glance between mother and son. The words faded on his lips, and he concealed a guilty smile in his thin gray beard.
9. “There he is,” said Herbert White, as the gate banged to loudly and heavy footsteps came toward the door.
9. “There he is,” said Herbert White, as the gate slammed shut and heavy footsteps approached the door.
10. The old man rose with hospitable haste, and opening the door, was heard condoling with the new arrival. The new arrival also condoled with himself, so that Mrs. White said, “Tut, tut!” and coughed gently as her husband entered the room, followed by a tall, burly man, beady of eye and rubicund of visage.
10. The old man quickly got up with welcoming energy, opened the door, and was heard comforting the newcomer. The newcomer also comforted himself, which made Mrs. White say, “Tut, tut!” and cough softly as her husband walked into the room, followed by a tall, strong man with beady eyes and a flushed face.
11. “Sergeant-Major Morris,” he said, introducing him.
11. “Sergeant-Major Morris,” he said, introducing him.
12. The sergeant-major shook hands, and taking the proffered seat by the fire, watched contentedly while his host got out whiskey and tumblers and stood a small copper kettle on the fire.
12. The sergeant-major shook hands, then took the offered seat by the fire and watched happily as his host poured whiskey and grabbed some glasses, setting a small copper kettle on the heat.
13. At the third glass his eyes[Pg 113] got brighter, and he began to talk, the little family circle regarding with eager interest this visitor from distant parts, as he squared his broad shoulders in the chair and spoke of wild scenes and doughty deeds; of wars and plagues and strange peoples.
13. By the third glass, his eyes[Pg 113] were shining, and he started to speak. The small family gathered around him listened with keen interest to this guest from far away as he straightened his broad shoulders in the chair and shared stories of wild adventures, brave acts, wars, diseases, and unusual cultures.
14. “Twenty-one years of it,” said Mr. White, nodding at his wife and son. “When he went away he was a slip of a youth in the warehouse. Now look at him.”
14. “Twenty-one years of it,” Mr. White said, nodding at his wife and son. “When he left, he was just a skinny kid in the warehouse. Now look at him.”
15. “He don’t look to have taken much harm,” said Mrs. White, politely.
15. “He doesn’t seem to be hurt much,” said Mrs. White, politely.
16. “I’d like to go to India myself,” said the old man, “just to look round a bit, you know.”
16. “I’d really like to visit India myself,” said the old man, “just to explore a little, you know.”
17. “Better where you are,” said the sergeant-major, shaking his head. He put down the empty glass, and sighing softly, shook it again.
17. “Better where you are,” said the sergeant-major, shaking his head. He set down the empty glass and, sighing softly, shook it again.
18. “I should like to see those old temples and fakirs and jugglers,” said the old man. “What was that you started telling me the other day about a monkey’s paw or something, Morris?”
18. “I’d love to see those old temples and mystics and jugglers,” said the old man. “What was it you started telling me the other day about a monkey’s paw or something, Morris?”
19. “Nothing,” said the soldier, hastily. “Leastways nothing worth hearing.”
19. “Nothing,” said the soldier, quickly. “Well, nothing worth listening to.”
20. “Monkey’s paw?” said Mrs. White, curiously.
20. “Monkey’s paw?” Mrs. White said, curious.
21. “Well, it’s just a bit of what you might call magic, perhaps,” said the sergeant-major, offhandedly.
21. “Well, it’s just a little bit of what you might call magic, I guess,” said the sergeant-major casually.
22. His three listeners leaned forward eagerly. The visitor absentmindedly[Pg 114] put his empty glass to his lips and then set it down again. His host filled it for him.
22. His three listeners leaned forward eagerly. The visitor absentmindedly[Pg 114] raised his empty glass to his lips and then set it down again. His host refilled it for him.
23. “To look at,” said the sergeant-major, fumbling in his pocket, “it’s just an ordinary little paw, dried to a mummy.”
23. “To look at,” said the sergeant-major, fumbling in his pocket, “it’s just an ordinary little paw, dried up like a mummy.”
24. He took something out of his pocket and proffered it. Mrs. White drew back with a grimace, but her son, taking it, examined it curiously.
24. He pulled something out of his pocket and offered it. Mrs. White recoiled with a grimace, but her son, taking it, looked at it with curiosity.
25. “And what is there special about it?” inquired Mr. White as he took it from his son, and having examined it, placed it upon the table.
25. “What’s so special about it?” asked Mr. White as he took it from his son, and after looking it over, he set it down on the table.
26. “It had a spell put on it by an old fakir,” said the sergeant-major, “a very holy man. He wanted to show that fate ruled people’s lives, and that those who interfered with it did so to their sorrow. He put a spell on it so that three separate men could each have three wishes from it.”
26. “It had a curse placed on it by an old fakir,” said the sergeant-major, “a very holy man. He wanted to show that fate controls people's lives and that those who mess with it do so at their own risk. He cursed it so that three different men could each make three wishes from it.”
27. His manner was so impressive that his hearers were conscious that their light laughter jarred somewhat.
27. His demeanor was so striking that his listeners were aware that their light laughter felt a bit out of place.
28. “Well, why don’t you have three, sir?” said Herbert White, cleverly.
28. “Well, why don’t you have three, sir?” said Herbert White, smartly.
29. The soldier regarded him in the way that middle age is wont to regard presumptuous youth. “I have,” he said, quietly, and his blotchy face whitened.
29. The soldier looked at him the way middle age tends to look at arrogant youth. “I have,” he said softly, and his blotchy face paled.
30. “And did you really have the three wishes granted?” asked Mrs. White.
30. “Did you actually get your three wishes granted?” asked Mrs. White.
[Pg 115]
[Pg 115]
31. “I did,” said the sergeant-major, and his glass tapped against his strong teeth.
31. “I did,” said the sergeant-major, and his glass clinked against his strong teeth.
32. “And has anybody else wished?” persisted the old lady.
32. “And has anyone else wished?” the old lady continued.
33. “The first man had his three wishes. Yes,” was the reply; “I don’t know what the first two were, but the third was for death. That’s how I got the paw.”
33. “The first man had his three wishes. Yes,” was the reply; “I don’t know what the first two were, but the third was for death. That’s how I ended up with the paw.”
34. His tones were so grave that a hush fell upon the group.
34. His voice was so serious that everyone fell silent.
35. “If you’ve had your three wishes, it’s no good to you now, then, Morris,” said the old man at last. “What do you keep it for?”
35. “If you’ve already had your three wishes and it doesn’t do you any good now, then what’s the point of keeping it, Morris?” the old man finally said. “What do you need it for?”
36. The soldier shook his head. “Fancy, I suppose,” he said, slowly. “I did have some idea of selling it, but I don’t think I will. It has caused enough mischief already. Besides, people won’t buy. They think it’s a fairy tale, some of them; and those who do think anything of it want to try it first and pay me afterward.”
36. The soldier shook his head. “Just a thought, I guess,” he said slowly. “I did consider selling it, but I don’t think I will. It’s caused enough trouble already. Plus, people won’t buy it. Some think it’s a fairy tale; and those who do take it seriously want to try it out first and pay me later.”
37. “If you could have another three wishes,” said the old man, eyeing him keenly, “would you have them?”
37. “If you could have three more wishes,” said the old man, looking at him closely, “would you want them?”
38. “I don’t know,” said the other. “I don’t know.”
38. “I have no idea,” said the other. “I have no idea.”
39. He took the paw, and dangling it between his forefinger and thumb, suddenly threw it upon the fire. White, with a slight cry, stooped down and snatched it off.
39. He grabbed the paw and, holding it between his forefinger and thumb, suddenly tossed it into the fire. White let out a small cry, bent down, and quickly pulled it out.
40. “Better let it burn,” said the soldier, solemnly.
40. “Better let it burn,” the soldier said seriously.
[Pg 116]
[Pg 116]
41. “If you don’t want it, Morris,” said the other, “give it to me.”
41. “If you don’t want it, Morris,” said the other, “hand it over to me.”
42. “I won’t,” said his friend doggedly. “I threw it on the fire. If you keep it, don’t blame me for what happens. Pitch it on the fire again like a sensible man.”
42. “I won’t,” his friend said stubbornly. “I threw it on the fire. If you keep it, don’t blame me for what happens. Throw it on the fire again like a reasonable person.”
43. The other shook his head and examined his new possession closely. “How do you do it?” he inquired.
43. The other person shook his head and looked closely at his new possession. “How do you do it?” he asked.
44. “Hold it up in your right hand and wish aloud,” said the sergeant-major, “but I warn you of the consequences.”
44. “Hold it up in your right hand and say your wish out loud,” said the sergeant-major, “but I need to warn you about what might happen.”
45. “Sounds like the Arabian Nights,” said Mrs. White, as she rose and began to set the supper. “Don’t you think you might wish for four pairs of hands for me?”
45. “Sounds like the Arabian Nights,” Mrs. White said as she got up to start preparing dinner. “Don’t you think you might want to wish for four pairs of hands for me?”
46. Her husband drew the talisman from his pocket, and then all three burst into laughter as the sergeant-major, with a look of alarm on his face, caught him by the arm.
46. Her husband pulled the talisman from his pocket, and then all three started laughing as the sergeant-major, looking alarmed, grabbed him by the arm.
47. “If you must wish,” he said, gruffly, “wish for something sensible.”
47. “If you have to make a wish,” he said gruffly, “wish for something practical.”
48. Mr. White dropped it back in his pocket, and placing chairs, motioned his friend to the table. In the business of supper the talisman was partly forgotten, and afterward the three sat listening in an enthralled fashion to a second installment of the soldier’s adventures in India.
48. Mr. White put it back in his pocket and, arranging the chairs, signaled to his friend to join him at the table. During dinner, they mostly forgot about the talisman, and afterward, the three of them sat captivated, listening to the second part of the soldier’s adventures in India.
49. “If the tale about the monkey’s paw is not more truthful than those he has been telling us,” said Herbert, as the door closed behind their guest,[Pg 117] just in time for him to catch the last train, “we shan’t make much out of it.”
49. “If the story about the monkey’s paw isn’t any more true than the ones he’s been telling us,” said Herbert, as the door closed behind their guest,[Pg 117] just in time for him to catch the last train, “we won’t get much from it.”
50. “Did you give him anything for it, father?” inquired Mrs. White, regarding her husband closely.
50. “Did you give him anything for it, Dad?” Mrs. White asked, looking at her husband intently.
51. “A trifle,” said he, colouring slightly. “He didn’t want it, but I made him take it. And he pressed me again to throw it away.”
51. “Just a little thing,” he said, blushing a bit. “He didn’t want it, but I insisted he take it. And he asked me again to get rid of it.”
52. “Likely,” said Herbert, with pretended horror. “Why, we’re going to be rich, and famous and happy. Wish to be an emperor, father, to begin with; then you can’t be hen-pecked.”
52. "Probably," said Herbert, with fake shock. "We’re going to be rich, famous, and happy. I want to be an emperor, dad, to start with; that way you won't be bossed around."
53. He darted round the table, pursued by the maligned Mrs. White armed with an antimacassar.
53. He rushed around the table, chased by the angry Mrs. White wielding an antimacassar.
54. Mr. White took the paw from his pocket and eyed it dubiously. “I don’t know what to wish for, and that’s a fact,” he said, slowly. “It seems to me I’ve got all I want.”
54. Mr. White took the paw out of his pocket and looked at it uncertainly. “I have no idea what to wish for, and that’s the truth,” he said, slowly. “It feels like I have everything I need.”
55. “If you only cleared the house, you’d be quite happy, wouldn’t you?” said Herbert, with his hand on his shoulder. “Well, wish for two hundred pounds, then; that’ll just do it.”
55. “If you just cleaned up the house, you’d be pretty happy, right?” said Herbert, putting his hand on his shoulder. “Well, go ahead and wish for two hundred pounds; that should do the trick.”
56. His father, smiling shamefacedly at his own credulity, held up the talisman, as his son, with a solemn face, somewhat marred by a wink at his mother, sat down at the piano and struck a few impressive chords.
56. His father, smiling sheepishly at his own gullibility, held up the talisman, while his son, with a serious expression that was slightly spoiled by a wink at his mother, sat down at the piano and played a few striking chords.
57. “I wish for two hundred pounds,” said the old man distinctly.
57. “I want two hundred pounds,” the old man said clearly.
58. A fine crash from the piano[Pg 118] greeted the words, interrupted by a shuddering cry from the old man. His wife and son ran toward him.
58. A loud crash from the piano[Pg 118] met the words, interrupted by a trembling cry from the old man. His wife and son rushed toward him.
59. “It moved,” he cried, with a glance of disgust at the object as it lay on the floor.
59. “It moved,” he exclaimed, looking at the object on the floor with disgust.
60. “As I wished, it twisted in my hand like a snake.”
60. “Just as I wanted, it curled in my hand like a snake.”
61. “Well, I don’t see the money,” said his son as he picked it up and placed it on the table, “and I bet I never shall.”
61. “Well, I don’t see the money,” said his son as he picked it up and placed it on the table, “and I bet I never will.”
62. “It must have been your fancy, father,” said his wife, regarding him anxiously.
62. “It must have been your imagination, Dad,” his wife said, looking at him worriedly.
63. He shook his head. “Never mind, though; there’s no harm, but it gave me a shock all the same.”
63. He shook his head. “It's all good; it surprised me, though.”
64. They sat down by the fire again while the two men finished their pipes. Outside, the wind was higher than ever, and the old man started nervously at the sound of a door banging up-stairs. A silence unusual and depressing settled upon all three, which lasted until the old couple rose to retire for the night.
64. They sat back down by the fire while the two men finished smoking their pipes. Outside, the wind was stronger than ever, and the old man flinched at the loud bang of a door upstairs. An unusual and heavy silence fell over all three of them, lasting until the old couple got up to go to bed for the night.
65. “I expect you’ll find the cash tied up in a big bag in the middle of your bed,” said Herbert, as he bade them good-night, “and something horrible squatting up on top of the wardrobe watching you as you pocket your ill-gotten gains.”
65. “I bet you’ll find the cash packed in a big bag right in the middle of your bed,” Herbert said as he wished them good night, “and something creepy lurking on top of the wardrobe, watching you as you take your stolen loot.”
66. He sat alone in the darkness, gazing at the dying fire, and seeing faces in it. The last face was so horrible and so simian that he gazed at it in amazement. It got so vivid[Pg 119] that, with a little uneasy laugh, he felt on the table for a glass containing a little water to throw over it. His hand grasped the monkey’s paw, and with a little shiver he wiped his hand on his coat and went up to bed.
66. He sat alone in the dark, staring at the fading fire and seeing faces in it. The last face was so awful and animalistic that he looked at it in shock. It became so clear[Pg 119] that, with a slight nervous laugh, he reached for a glass with a little water to throw on it. His hand ended up grabbing the monkey’s paw, and with a small shiver, he wiped his hand on his coat and headed up to bed.
II
II
67. In the brightness of the wintry sun next morning as it streamed over the breakfast table he laughed at his fears. There was an air of prosaic wholesomeness about the room which it had lacked on the previous night, and the dirty, shrivelled little paw was pitched on the sideboard with a carelessness which betokened no great belief in its virtues.
67. The next morning, in the bright winter sun streaming over the breakfast table, he laughed at his fears. The room had a down-to-earth, wholesome vibe that it had been missing the night before, and the dirty, shriveled little paw was tossed on the sideboard with a nonchalant attitude that showed a lack of faith in its supposed powers.
68. “I suppose all old soldiers are the same,” said Mrs. White. “The idea of our listening to such nonsense! How could wishes be granted in these days? And if they could, how could two hundred pounds hurt you, father?”
68. “I guess all old soldiers are the same,” said Mrs. White. “The idea of us listening to such nonsense! How could wishes be granted these days? And if they could, how could two hundred pounds hurt you, dad?”
69. “Might drop on his head from the sky,” said the frivolous Herbert.
69. “Could fall on his head from the sky,” said the carefree Herbert.
70. “Morris said the things happened so naturally,” said his father, “that you might if you so wished attribute it to coincidence.”
70. "Morris said everything happened so naturally," his father said, "that you could, if you wanted, call it coincidence."
71. “Well, don’t break into the money before I come back,” said Herbert as he rose from the table. “I’m afraid it’ll turn you into a mean, avaricious man, and we shall have to disown you.”
71. “Well, don’t touch the money until I get back,” said Herbert as he got up from the table. “I’m worried it’ll make you a greedy, selfish person, and we’ll have to cut ties with you.”
72. His mother laughed, and following[Pg 120] him to the door, watched him down the road; and returning to the breakfast table, was very happy at the expense of her husband’s credulity. All of which did not prevent her from scurrying to the door at the postman’s knock, nor prevent her from referring somewhat shortly to retired sergeant-majors of bibulous habits when she found that the post brought a tailor’s bill.
72. His mother laughed, and after walking him to the door, she watched him go down the road. When she returned to the breakfast table, she felt very happy at her husband’s gullibility. However, this didn’t stop her from rushing to the door when the postman knocked, nor did it prevent her from making a snappy comment about retired sergeant-majors with drinking problems when she saw that the mail brought a tailor’s bill.
73. “Herbert will have some more of his funny remarks, I expect, when he comes home,” she said, as they sat at dinner.
73. “I bet Herbert will have more of his funny comments when he gets home,” she said as they sat down for dinner.
74. “I dare say,” said Mr. White, pouring himself out some beer; “but for all that, the thing moved in my hand; that I’ll swear to.”
74. “I can honestly say,” Mr. White said as he poured himself some beer, “that despite everything, it moved in my hand; I swear to that.”
75. “You thought it did,” said the old lady soothingly.
75. “You thought it did,” the old lady said gently.
76. “I say it did,” replied the other. “There was no thought about it; I had just—What’s the matter?”
76. “I really think it did,” the other person replied. “I wasn’t even thinking about it; I just—What’s wrong?”
77. His wife made no reply. She was watching the mysterious movements of a man outside, who, peering in an undecided fashion at the house, appeared to be trying to make up his mind to enter. In mental connection with the two hundred pounds, she noticed that the stranger was well dressed, and wore a silk hat of glossy newness. Three times he paused at the gate, and then walked on again. The fourth time he stood with his hand upon it, and then with sudden resolution flung it open and walked up the path. Mrs. White[Pg 121] at the same moment placed her hands behind her, and hurriedly unfastening the strings of her apron, put that useful article of apparel beneath the cushion of her chair.
77. His wife didn't respond. She was watching a man outside who seemed unsure about entering the house. While thinking about the two hundred pounds, she noticed that he was well-dressed and wore a shiny new silk hat. He paused at the gate three times, then walked away again. The fourth time he stood with his hand on it, and then, with sudden determination, flung it open and walked up the path. At the same moment, Mrs. White placed her hands behind her, quickly untied the strings of her apron, and tucked that useful piece of clothing under the cushion of her chair.
78. She brought the stranger, who seemed ill at ease, into the room. He gazed at her furtively, and listened in a preoccupied fashion as the old lady apologized for the appearance of the room, and her husband’s coat, a garment which he usually reserved for the garden. She then waited as patiently as her sex would permit, for him to broach his business, but he was at first strangely silent.
78. She brought the stranger, who looked uncomfortable, into the room. He glanced at her out of the corner of his eye and listened absentmindedly as the old lady apologized for how the room looked and for her husband’s coat, which he usually saved for working in the garden. She then waited as patiently as she could for him to bring up his business, but he was oddly quiet at first.
79. “I—was asked to call,” he said at last, and stooped and picked a piece of cotton from his trousers. “I come from Maw and Meggins.”
79. “I was asked to call,” he finally said, bending down to pick a piece of cotton off his pants. “I come from Maw and Meggins.”
80. The old lady started. “Is anything the matter?” she asked, breathlessly. “Has anything happened to Herbert? What is it? What is it?”
80. The old lady jumped. “Is something wrong?” she asked, out of breath. “Has something happened to Herbert? What’s going on? What is it?”
81. Her husband interposed. “There, there, mother,” he said, hastily. “Sit down, and don’t jump to conclusions. You’ve not brought bad news, I’m sure, sir;” and he eyed the other wistfully.
81. Her husband stepped in. “Now, now, mom,” he said quickly. “Take a seat and don’t jump to conclusions. I’m sure you haven’t brought any bad news, sir,” and he looked at the other man with hope.
82. “I’m sorry—” began the visitor.
82. “I’m sorry—” the visitor started.
83. “Is he hurt?” demanded the mother, wildly.
83. "Is he hurt?" the mother asked frantically.
84. The visitor bowed in assent. “Badly hurt,” he said, quietly, “but he is not in any pain.”
84. The visitor nodded in agreement. “Seriously injured,” he said softly, “but he’s not in any pain.”
85. “Oh, thank God!” said the old[Pg 122] woman, clasping her hands. “Thank God for that! Thank—”
85. “Oh, thank God!” said the old[Pg 122] woman, clasping her hands. “Thank God for that! Thank—”
86. She broke off suddenly as the sinister meaning of the assurance dawned upon her and she saw the awful confirmation of her fears in the other’s averted face. She caught her breath, and turning to her slower-witted husband, laid her trembling old hand upon his. There was a long silence.
86. She suddenly stopped as the dark implication of the reassurance hit her, and she recognized the horrifying confirmation of her fears in the other person's turned-away face. She caught her breath and, turning to her less perceptive husband, laid her shaking old hand on his. There was a long silence.
87. “He was caught in the machinery,” said the visitor at length in a low voice.
87. “He got stuck in the machinery,” said the visitor finally in a quiet voice.
88. “Caught in the machinery,” repeated Mr. White, in a dazed fashion, “yes.”
88. “Caught in the machinery,” Mr. White repeated, looking dazed, “yes.”
89. He sat staring blankly out at the window, and taking his wife’s hand between his own, pressed it as he had been wont to do in their old courting-days nearly forty years before.
89. He sat staring blankly out the window, taking his wife’s hand in his own and squeezing it like he used to do in their courting days nearly forty years ago.
90. “He was the only one left to us,” he said, turning gently to the visitor. “It is hard.”
90. “He was the only one we had left,” he said, turning gently to the visitor. “It’s tough.”
91. The other coughed, and rising, walked slowly to the window. “The firm wished me to convey their sincere sympathy with you in your great loss,” he said, without looking round. “I beg that you will understand I am only their servant and merely obeying orders.”
91. The other person coughed, then got up and walked slowly to the window. “The firm asked me to express their sincere sympathy for your significant loss,” he said without turning around. “Please understand that I’m just their servant and following orders.”
92. There was no reply; the old woman’s face was white, her eyes staring, and her breath inaudible; on the husband’s face was a look such[Pg 123] as his friend the sergeant might have carried into his first action.
92. There was no response; the old woman's face was pale, her eyes wide open, and her breathing was barely perceptible; on the husband's face was an expression like the one his friend the sergeant might have had during his first battle.[Pg 123]
93. “I was to say that Maw and Meggins disclaim all responsibility,” continued the other. “They admit no liability at all, but in consideration of your son’s services, they wish to present you with a certain sum as compensation.”
93. “I need to say that Maw and Meggins refuse to take any responsibility,” the other continued. “They claim no liability whatsoever, but in appreciation of your son’s services, they would like to give you a certain amount as compensation.”
94. Mr. White dropped his wife’s hand, and rising to his feet, gazed with a look of horror at his visitor. His dry lips shaped the words. “How much?”
94. Mr. White let go of his wife’s hand, stood up, and stared at his visitor with a look of horror. His dry lips formed the words. “How much?”
95. “Two hundred pounds,” was the answer.
95. "Two hundred pounds," was the reply.
96. Unconscious of his wife’s shriek, the old man smiled faintly, put out his hands like a sightless man, and dropped, a senseless heap, to the floor.
96. Unaware of his wife’s scream, the old man smiled weakly, reached out his hands like a blind person, and collapsed, a lifeless pile, onto the floor.
III
III
97. In the huge new cemetery, some two miles distant, the old people buried their dead, and came back to a house steeped in shadow and silence. It was all over so quickly that at first they could hardly realize it, and remained in a state of expectation as though of something else to happen—something else which was to lighten this load, too heavy for old hearts to bear.
97. In the vast new cemetery, about two miles away, the elderly buried their loved ones and returned to a house filled with darkness and silence. It all happened so fast that at first they could barely process it, lingering in a state of anticipation as if waiting for something else to happen—something that would lift this burden, too heavy for aging hearts to carry.
98. But the days passed, and expectation gave place to resignation—the hopeless resignation of the old, sometimes miscalled, apathy. Sometimes they hardly exchanged a word,[Pg 124] for now they had nothing to talk about, and their days were long to weariness.
98. But the days went by, and hope turned into acceptance—the kind of acceptance that the elderly sometimes mistakenly call apathy. At times, they barely spoke a word,[Pg 124] because they had nothing to discuss, and their days felt long and exhausting.
99. It was about a week after that the old man, waking suddenly in the night, stretched out his hand and found himself alone. The room was in darkness, and the sound of subdued weeping came from the window. He raised himself in bed and listened.
99. About a week later, the old man woke up suddenly in the night, stretched out his hand, and realized he was alone. The room was dark, and he could hear quiet weeping coming from the window. He propped himself up in bed and listened.
100. “Come back,” he said, tenderly. “You will be cold.”
100. “Come back,” he said softly. “You’ll get cold.”
101. “It is colder for my son,” said the old woman, and wept afresh.
101. “It’s colder for my son,” said the old woman, and she started to cry again.
102. The sound of her sobs died away on his ears. The bed was warm, and his eyes heavy with sleep. He dozed fitfully, and then slept until a sudden wild cry from his wife awoke him with a start.
102. The sound of her crying faded away in his ears. The bed was warm, and his eyes felt heavy with sleep. He dozed restlessly, and then fell asleep until a sudden, frantic scream from his wife jolted him awake.
103. “The paw!” she cried wildly. “The monkey’s paw!”
103. “The paw!” she yelled frantically. “The monkey’s paw!”
104. He started up in alarm. “Where? Where is it? What’s the matter?”
104. He jumped up in alarm. “Where? Where is it? What’s going on?”
105. She came stumbling across the room toward him. “I want it,” she said, quietly. “You’ve not destroyed it?”
105. She came stumbling across the room toward him. “I want it,” she said softly. “You haven’t destroyed it?”
106. “It’s in the parlour, on the bracket,” he replied marvelling. “Why?”
106. “It’s in the living room, on the shelf,” he replied, amazed. “Why?”
107. She cried and laughed together, and bending over, kissed his cheek.
107. She cried and laughed at the same time, and leaning in, she kissed his cheek.
108. “I only just thought of it,” she said, hysterically. “Why didn’t I think of it before? Why didn’t you think of it?”
108. “I just thought of it,” she said, panicking. “Why didn’t I think of it before? Why didn’t you think of it?”
[Pg 125]
[Pg 125]
109. “Think of what?” he questioned.
109. “What are you thinking about?” he asked.
110. “The other two wishes,” she replied, rapidly. “We’ve only had one.”
110. “The other two wishes,” she said quickly. “We’ve only had one.”
111. “Was not that enough?” he demanded, fiercely.
111. “Wasn’t that enough?” he demanded fiercely.
112. “No,” she cried, triumphantly; “we’ll have one more. Go down and get it quickly, and wish our boy alive again.”
112. “No,” she exclaimed, triumphantly; “we’ll have one more. Go down and get it quickly, and wish our boy back to life.”
113. The man sat up in bed and flung the bed-clothes from his quaking limbs. “Good God, you are mad!” he cried, aghast.
113. The man sat up in bed and tossed the covers off his shaking limbs. “Oh my God, you’re crazy!” he exclaimed, shocked.
114. “Get it,” she panted; “get it quickly, and wish—Oh, my boy, my boy!”
114. “Get it,” she breathed; “get it quickly, and wish—Oh, my boy, my boy!”
115. Her husband struck a match and lit the candle. “Get back to bed,” he said, unsteadily. “You don’t know what you are saying.”
115. Her husband lit a match and sparked the candle. “Go back to bed,” he said, unsteadily. “You don’t know what you’re talking about.”
116. “We had the first wish granted,” said the old woman, feverishly; “why not the second?”
116. “We got the first wish granted,” said the old woman, excitedly; “why not the second?”
117. “A coincidence,” stammered the old man.
117. “Just a coincidence,” the old man stammered.
118. “Go and get it and wish,” cried his wife, quivering with excitement.
118. “Go and get it and make a wish,” his wife shouted, shaking with excitement.
119. The old man turned and regarded her, and his voice shook. “He has been dead ten days, and besides he—I would not tell you else, but—I could only recognize him by his clothing. If he was too terrible for you to see then, how now?”
119. The old man turned to her, his voice trembling. “He’s been dead for ten days, and honestly—I wouldn’t share this otherwise—but I only recognized him by his clothes. If he was too horrifying for you to look at then, how can you face him now?”
120. “Bring him back,” cried the old woman, and dragged him toward[Pg 126] the door. “Do you think I fear the child I have nursed?”
120. “Bring him back,” cried the old woman, dragging him toward[Pg 126] the door. “Do you think I'm afraid of the child I have raised?”
121. He went down in the darkness, and felt his way to the parlour, and then to the mantelpiece. The talisman was in its place, and a horrible fear that the unspoken wish might bring his mutilated son before him ere he could escape from the room seized upon him, and he caught his breath as he found that he had lost the direction of the door. His brow cold with sweat, he felt his way round the table, and groped along the wall until he found himself in the small passage with the unwholesome thing in his hand.
121. He moved down into the darkness, feeling his way to the living room, and then to the mantelpiece. The talisman was in its spot, and a terrifying fear that his unvoiced wish might bring his disfigured son to him before he could get out of the room took hold of him. He gasped as he realized he had lost track of the door. His forehead was sweaty and cold as he navigated around the table and fumbled along the wall until he found himself in the narrow hallway with the disturbing object in his hand.
122. Even his wife’s face seemed changed as he entered the room. It was white and expectant, and to his fears seemed to have an unnatural look upon it. He was afraid of her.
122. Even his wife's face looked different as he walked into the room. It was pale and full of anticipation, and to him, it seemed to have an unnatural expression. He was afraid of her.
123. “Wish!” she cried in a strong voice.
123. “Wish!” she shouted in a powerful voice.
124. “It is foolish and wicked,” he faltered.
124. “It's stupid and evil,” he hesitated.
125. “Wish!” repeated his wife.
“Wish!” his wife repeated.
126. He raised his hand. “I wish my son alive again.”
126. He raised his hand. “I wish my son were alive again.”
127. The talisman fell to the floor, and he regarded it fearfully. Then he sank trembling into a chair as the old woman, with burning eyes, walked to the window and raised the blind.
127. The talisman dropped to the floor, and he looked at it with fear. Then he sank into a chair, trembling, as the old woman, with fiery eyes, walked to the window and pulled up the blind.
128. He sat until he was chilled with the cold, glancing occasionally at the figure of the old woman peering through the window. The candle-end,[Pg 127] which had burned below the rim of the china candle-stick, was throwing pulsating shadows on the ceilings and walls, until, with a flicker larger than the rest, it expired. The old man, with an unspeakable sense of relief at the failure of the talisman, crept back to his bed, and a minute or two afterward the old woman came silently and apathetically beside him.
128. He sat there until he was chilled by the cold, occasionally glancing at the old woman peering through the window. The candle stub,[Pg 127] which had burned down past the rim of the china candlestick, was casting pulsating shadows on the ceilings and walls until, with a larger flicker than the others, it went out. The old man felt an overwhelming sense of relief at the talisman's failure and crept back to bed. A minute or two later, the old woman came silently and indifferently to lie beside him.
129. Neither spoke, but lay silently listening to the ticking of the clock. A stair creaked, and a squeaky mouse scurried noisily through the wall. The darkness was oppressive, and after lying for some time screwing up his courage, he took the box of matches, and striking one, went downstairs for a candle.
129. Neither of them spoke, but lay quietly listening to the ticking of the clock. A stair creaked, and a squeaky mouse scurried loudly through the wall. The darkness felt heavy, and after lying there for a while trying to gather his courage, he grabbed the box of matches, struck one, and headed downstairs for a candle.
130. At the foot of the stairs the match went out, and he paused to strike another; and at the same moment a knock, so quiet and stealthy as to be scarcely audible, sounded on the front door.
130. At the bottom of the stairs, the match went out, and he stopped to light another one; at the same time, a knock, so soft and discreet that it was hardly audible, echoed at the front door.
131. The matches fell from his hand and spilled in the passage. He stood motionless, his breath suspended until the knock was repeated. Then he turned and fled swiftly back to his room, and closed the door behind him. A third knock sounded through the house.
131. The matches slipped from his hand and scattered in the hallway. He stood frozen, holding his breath until the knock happened again. Then he turned and quickly ran back to his room, closing the door behind him. A third knock echoed through the house.
132. “What’s that?” cried the old woman, starting up.
132. “What’s that?” shouted the old woman, sitting up abruptly.
133. “A rat,” said the old man in shaking tones—“a rat. It passed me on the stairs.”
133. “A rat,” said the old man in trembling tones—“a rat. It went by me on the stairs.”
134. His wife sat up in bed listening.[Pg 128] A loud knock resounded through the house.
134. His wife sat up in bed, listening.[Pg 128] A loud knock echoed through the house.
135. “It’s Herbert!” she screamed, “It’s Herbert!”
135. “It’s Herbert!” she yelled, “It’s Herbert!”
136. She ran to the door, but her husband was before her, and catching her by the arm, held her tightly.
136. She ran to the door, but her husband got there first, and grabbing her by the arm, held her firmly.
137. “What are you going to do?” he whispered hoarsely.
137. “What are you going to do?” he whispered hoarsely.
138. “It’s my boy; it’s Herbert!” she cried, struggling mechanically. “I forgot it was two miles away. What are you holding me for? Let go. I must open the door.”
138. “It’s my boy; it’s Herbert!” she shouted, struggling to break free. “I forgot it was two miles away. Why are you holding me? Let go. I need to open the door.”
139. “For God’s sake don’t let it in,” cried the old man, trembling.
139. “For God’s sake, don’t let it in,” the old man cried, shaking.
140. “You’re afraid of your own son,” she cried, struggling. “Let me go. I’m coming, Herbert; I’m coming.”
140. “You’re scared of your own son,” she yelled, trying to break free. “Let me go. I’m on my way, Herbert; I’m on my way.”
141. There was another knock, and another. The old woman with a sudden wrench broke free and ran from the room. Her husband followed to the landing, and called after her appealingly as she hurried downstairs. He heard the chain rattle back and the bottom bolt drawn slowly and stiffly from the socket. Then the old woman’s voice, strained and panting.
141. There was another knock, and another. The old woman suddenly broke free and ran from the room. Her husband followed to the landing, calling out to her in concern as she rushed downstairs. He heard the chain rattle back and the bottom bolt being pulled slowly and stiffly from the socket. Then he heard the old woman’s voice, strained and panting.
142. “The bolt,” she cried, loudly. “Come down. I can’t reach it.”
142. “The bolt,” she shouted, loudly. “Come down. I can’t reach it.”
143. But her husband was on his hands and knees groping wildly on the floor in search of the paw. If he could only find it before the thing outside got in. A perfect fusillade of knocks reverberated through the house, and he heard the scraping of a chair as his wife put it down in the passage against the door. He heard the creaking of the bolt as it came slowly back, and at the same moment he found the monkey’s paw, and frantically breathed his third and last wish.
143. But her husband was on his hands and knees, frantically searching the floor for the paw. If he could just find it before whatever was outside got in. A barrage of knocks echoed through the house, and he heard his wife moving a chair into the hallway to block the door. He heard the creaking of the bolt as it slowly slid back, and at that moment, he found the monkey's paw and desperately made his third and last wish.
144. The knocking ceased suddenly, although the echoes of it were still in the house. He heard the chair drawn back, and the door opened. A cold wind rushed up the staircase, and a long loud wail of disappointment and misery from his wife gave him courage to run down to her side, and then to the gate beyond. The street lamp flickering opposite shone on a quiet and deserted road.
144. The knocking stopped abruptly, but the echoes lingered in the house. He heard the chair move back, and the door swung open. A cold breeze swept up the stairs, followed by a long, loud cry of disappointment and sadness from his wife that gave him the courage to rush down to her side and then to the gate ahead. The flickering street lamp across the way illuminated a quiet and empty road.
[Pg 129]
[Pg 129]
SUGGESTIVE QUESTIONS FOR STUDY
1. Does it add to the interest of a story, for you, when you are baffled by its mystery up to the very end?
1. Does it make a story more interesting for you when you’re puzzled by its mystery until the very end?
2. What author’s detective stories do you consider the best? Why?
2. Which author's detective stories do you think are the best? Why?
3. If possible, secure a copy of Voltaire’s “Zadig,” and write a short paper on Zadig’s reasoning.
3. If you can, get a copy of Voltaire’s “Zadig,” and write a short paper discussing Zadig’s reasoning.
4. Does the introduction of an element of the supernatural increase or lessen the interest of a story, for you?
4. Does adding a supernatural element make a story more interesting or less interesting for you?
5. Write about two-hundred words comparing (a) the work of Poe’s Dupin with Doyle’s Sherlock Holmes; (b) with that of any other fictional detective—Chesterton’s Father Brown, for example.
5. Write about two hundred words comparing (a) the work of Poe’s Dupin with Doyle’s Sherlock Holmes; (b) with that of any other fictional detective—Chesterton’s Father Brown, for example.
6. Explain what is meant by inductive reasoning.
6. Explain what is meant by inductive reasoning.
7. Select from some magazine (a) a good detective story, and (b) a good story of the unexplained, or supernatural. (c) Discuss the relative merits of each.
7. Choose a good detective story and a good story about the unexplained or supernatural from any magazine. Discuss the strengths and weaknesses of each.
8. Do you prefer Jacobs as a writer of humorous stories of sea-faring folk or as a writer of the weird?
8. Do you prefer Jacobs as a writer of funny stories about sea-faring people or as a writer of the strange?
9. Which of Poe’s stories do you like best, and why?
9. Which of Poe's stories do you like the most, and why?
[Pg 130]
[Pg 130]
TEN REPRESENTATIVE STORIES OF MYSTERY AND FANTASY
“The Horla,” Guy de Maupassant, translated in Modern Ghosts.
“The Horla,” Guy de Maupassant, translated in Modern Ghosts.
“The Lost Duchess,” Anonymous, in The Lock and Key Library.
“The Lost Duchess,” Anonymous, in The Lock and Key Library.
“The Golden Ingot,” Fitz-James O’Brien, in The Lock and Key Library.
“The Golden Ingot,” Fitz-James O’Brien, in The Lock and Key Library.
“The Gold Bug,” Edgar Allan Poe, in Tales.
“The Gold Bug,” Edgar Allan Poe, in Tales.
“The Black Spaniel,” Robert Hichens, in volume of same title.
“The Black Spaniel,” Robert Hichens, in a volume of the same title.
“The Upper Berth,” F. Marion Crawford, in Short-Story Classics, American.
“The Upper Berth,” F. Marion Crawford, in Short-Story Classics, American.
“The Adventure of the Dancing Men,” A. Conan Doyle, in The Return of Sherlock Holmes.
“The Adventure of the Dancing Men,” A. Conan Doyle, in The Return of Sherlock Holmes.
“The Venus of Ille,” Prosper Mérimée, translated in Little French Masterpieces.
“The Venus of Ille,” Prosper Mérimée, translated in Little French Masterpieces.
“The Pavilion on the Links,” Robert Louis Stevenson, in New Arabian Nights.
“The Pavilion on the Links,” Robert Louis Stevenson, in New Arabian Nights.
“The Damned Thing,” Ambrose Bierce, in Short-Story Classics, American.
“The Damned Thing,” Ambrose Bierce, in Short-Story Classics, American.
[Pg 131]
[Pg 131]
III
STORIES OF EMOTION
The Last Class.—Alphonse Daudet
The Final Class.—Alphonse Daudet
Without Benefit of Clergy.—Rudyard Kipling[Pg 132]
Without Benefit of Clergy.—Rudyard Kipling
In painting we may represent any fine figure we please; but we never can give it those enlivening touches which it may receive from words. To represent an angel in a picture, you can only draw a beautiful young man winged: but what painting can furnish out any thing so grand as the addition of one word, “the angel of the Lord?...” Now, as there is a moving tone of voice, an impassioned countenance, an agitated gesture, which affect independently of the things about which they are exerted, so there are words, and certain dispositions of words, which being peculiarly devoted to passionate subjects, and always used by those who are under the influence of any passion, touch and move us more than those which far more clearly and distinctly express the subject-matter. We yield to sympathy what we refuse to description.—Edmund Burke, On the Sublime and Beautiful.
In painting, we can create any beautiful figure we want; but we can never add those vibrant touches that words can provide. To portray an angel in a picture, you can only draw a beautiful young man with wings: but what painting can evoke anything as powerful as the addition of just one word, “the angel of the Lord?…” Just as there are expressive tones of voice, passionate expressions, and animated gestures that move us regardless of their context, there are words and specific arrangements of words that are deeply connected to emotional subjects and are often used by those who are feeling strong emotions. These words resonate with us more than those that might express the topic more clearly and explicitly. We respond to sympathy in a way that we deny to mere description.—Edmund Burke, On the Sublime and Beautiful.
[Pg 133]
[Pg 133]
STORIES OF EMOTION
Fictional plots deal with the inner man quite as often as with the outer. Indeed, the action of the soul is more real, intense and interesting than mere visible action could possibly be. For this reason the master story-tellers nearly always interpret the inner life—whether of thought, of emotion, or of decision—by displaying the outer, instead of by merely analyzing and discussing the thoughts, feelings and decisions of their characters. The more clearly this outer action pictures the inner man, the more real does the character become to us and the more perfectly do we grasp the whole story.
Fictional plots often focus on the inner self just as much as they do on the outward actions. In fact, what happens within the soul is more real, intense, and engaging than any visible action could ever be. For this reason, great storytellers typically reveal a character's inner life—whether it's thoughts, emotions, or decisions—by showing their outer actions, instead of just analyzing and discussing what their characters are thinking and feeling. The clearer the outer actions reflect the inner self, the more real the character feels to us, and the better we understand the entire story.
As a universal human experience, emotion[20] mingles with all manifestations of life. In the short-story it finds various expression in the hilarious fun of “Pigs is Pigs,” by Butler; the character humor of Barrie’s “Thrums” stories; the mingled humor and pathos of Harte’s “The Luck of Roaring Camp”; the patriotic sentiment of Daudet’s “The Siege of Berlin”; the mystic sympathy of Kipling’s “They”; the idyllic love of the Book of Ruth; the incomparable psychological insight of Maupassant’s “A Coward”; the cold, revengeful jealousy of [Pg 134]Balzac’s “La Grande Bretêche”; the choking, supernatural terror of Poe’s “The Pit and the Pendulum”; the tragic passion of Mérimée’s “Mateo Falcone,” and all the myriad shades and combinations of shades which lie between.
As a universal human experience, emotion[20] mixes with all aspects of life. In the short story, it finds various expressions in the hilarious fun of “Pigs is Pigs” by Butler; the character humor in Barrie’s “Thrums” stories; the blend of humor and sadness in Harte’s “The Luck of Roaring Camp”; the patriotic feelings in Daudet’s “The Siege of Berlin”; the mystic connection in Kipling’s “They”; the idyllic love in the Book of Ruth; the unmatched psychological insight in Maupassant’s “A Coward”; the cold, vengeful jealousy in Balzac’s “La Grande Bretêche”; the suffocating, supernatural terror in Poe’s “The Pit and the Pendulum”; the tragic passion in Mérimée’s “Mateo Falcone,” and all the countless shades and combinations of shades that lie in between.
Naturally, each story in this entire collection illustrates one or another emotional phase, as even a cursory reading will make clear. What, for example, could be more intense than the emotions of those two parents, as depicted in “The Monkey’s Paw?” But for this group two stories have been selected as being typical examples of emotional expression, because in them human feeling predominates over all other characteristics and really makes the story.
Naturally, each story in this entire collection shows different emotional phases, as even a quick read will reveal. What, for example, could be more intense than the feelings of those two parents, as portrayed in “The Monkey’s Paw?” For this group, two stories have been chosen as typical examples of emotional expression because in them, human feeling stands out over all other traits and truly drives the story.
“The Last Class,” which is here presented in a translation by the editor of this volume, is rich in local color, in impressionism, and in character drawing, but as an unaffected picture of patriotic feeling it is unsurpassed in the literature of the short-story. There is not a single jarring emotional tone, not the slightest exaggeration of true emotional values. With singular repression, Daudet secures his effects by suggesting rather than fully expressing the profound feelings of the school-master, his pupils, and the visitors; and when the majestically simple climax is reached, we have accepted the reality of it all and have received a single effective and lasting impression.
“The Last Class,” presented here in a translation by the editor of this volume, is rich in local details, impressionism, and character development, but as a genuine display of patriotic feeling, it is unmatched in the short-story genre. There's not a single conflicting emotional note, nor any hint of exaggeration in true emotional values. With remarkable restraint, Daudet achieves his effects by suggesting rather than fully expressing the deep feelings of the schoolmaster, his students, and the visitors; and when the elegantly simple climax is reached, we fully accept the reality of it all and are left with a powerful and lasting impression.
“Without Benefit of Clergy,” the second specimen, is left for the reader to analyze and discuss. Surely this most sadly touching of all love-stories presents the poignant pity, the inevitable disaster, the final heart-break[Pg 135] of unsanctified love, as never before or since in the pages of fiction.
“Without Benefit of Clergy,” the second example, is left for the reader to analyze and discuss. Surely this deeply touching love story presents the heartfelt sadness, the unavoidable tragedy, and the ultimate heartbreak of forbidden love, like never before or since in the pages of fiction.[Pg 135]
DAUDET AND HIS WRITINGS
Alphonse Daudet was born at Nîmes, France, May 13, 1840. Here and at Lyons he received his education. At the age of seventeen he and his brother Ernest went to Paris, where Alphonse published his first long poem two years later. This began his literary success. From 1860 to 1865 he served as secretary in the Cabinet of the Duke de Morny, and at the early age of twenty-five was decorated with the Cross of the Legion of Honor. He was profoundly impressed by the memories of his early life and frequently revisited his native Provence. The South-of-France tone is distinguishable in much of his work, just as the powerful feelings called forth by the Franco-Prussian war find expression in other of his writings. He died in Paris, December 16, 1897.
Alphonse Daudet was born in Nîmes, France, on May 13, 1840. He received his education there and in Lyons. At seventeen, he and his brother Ernest moved to Paris, where Alphonse published his first long poem two years later, marking the start of his literary success. From 1860 to 1865, he worked as a secretary in the Cabinet of the Duke de Morny, and by the age of twenty-five, he was awarded the Cross of the Legion of Honor. He was deeply influenced by the memories of his early life and often returned to his native Provence. The Southern French tone is evident in much of his work, just as the intense emotions triggered by the Franco-Prussian war are expressed in other writings of his. He passed away in Paris on December 16, 1897.
Alphonse Daudet was a dramatist, poet, novelist, and short-story writer. The Nabob, Sappho, Jack, Kings in Exile, Numa Roumestan, Fromont and Risler, The Evangelist, and the “Tartarin” books are his best known novels. Among his best short-stories are “The Pope’s Mule,” “The Death of the Dauphin,” “The Three Low Masses,” “The Elixir of the Reverend Father Gaucher,” “Old Folks,” and “Master Cornille’s Secret”—all from the collection, Letters from My Mill. The following little masterpieces are from his Monday Tales: “The Game of Billiards,” “The Child Spy,” “The Little Pies,”[Pg 136] “Mothers,” “The Siege of Berlin,” and “The Last Class.”
Alphonse Daudet was a playwright, poet, novelist, and short story writer. The Nabob, Sappho, Jack, Kings in Exile, Numa Roumestan, Fromont and Risler, The Evangelist, and the “Tartarin” books are his most famous novels. Some of his best short stories include “The Pope’s Mule,” “The Death of the Dauphin,” “The Three Low Masses,” “The Elixir of the Reverend Father Gaucher,” “Old Folks,” and “Master Cornille’s Secret”—all from the collection Letters from My Mill. The following little masterpieces are from his Monday Tales: “The Game of Billiards,” “The Child Spy,” “The Little Pies,” [Pg 136] “Mothers,” “The Siege of Berlin,” and “The Last Class.”
At the close of the Franco-Prussian war, in 1871, France was forced to cede to Germany almost all of Alsace, about nine thousand square miles of territory, in addition to an indemnity of one billion dollars. “The Last Class” was held, therefore, about 1872, and the story was first published in 1873.
At the end of the Franco-Prussian War in 1871, France had to give up almost all of Alsace, covering about nine thousand square miles, to Germany, along with a payment of one billion dollars. “The Last Class” was held around 1872, and the story was first published in 1873.
Daudet’s literary genius sounded every note, from farce, delicate humor, and satire, to poetic pathos, dramatic action, character analysis, and social criticism. He resembled Dickens in his humor, but displayed more emotional tenderness, and, in his later work, more satire, than did the English writer. Though he may be called the literary descendant of Balzac, whose novels systematically depicted French society in all its phases, Daudet was less a social philosopher and more a man expressing his own personality through his work. Comparing him with Maupassant, we find his stories less perfect in form, but far richer in human feeling. Though at times he dealt with subjects which English readers consider broad, his sympathy unmistakably appears to be with his nobler characters.
Daudet’s literary genius touched on every element, from farce, subtle humor, and satire to poetic depth, dramatic action, character exploration, and social critique. He was similar to Dickens in his humor but showed more emotional warmth and, in his later work, more satire than the English writer. While he could be seen as a literary descendant of Balzac, whose novels systematically represented French society in all its aspects, Daudet was less of a social philosopher and more of an individual expressing his own personality through his work. Compared to Maupassant, his stories may not be as perfectly structured, but they are much richer in human emotion. Even when he tackled topics that English readers find controversial, his empathy clearly aligns with his more noble characters.
When only ten years of age, I was already haunted at times by the desire to lose my own personality, and incarnate myself in other beings; the mania was already laying hold of me for observing and analyzing, and my chief amusement during my walks was to pick out some passerby, and to follow him all over Lyons, through all his idle strollings or busy occupations, striving[Pg 137] to identify myself with his life, and to enter into his innermost thoughts.—Alphonse Daudet, Thirty Years of Paris.
When I was just ten years old, I sometimes found myself consumed by the desire to lose my own identity and become part of others. I was already developing a habit of observing and analyzing, and my main enjoyment during walks was choosing a passerby and following them all around Lyon, through their aimless wandering or busy activities, trying to connect with their life and delve into their deepest thoughts.—Alphonse Daudet, Thirty Years of Paris.
Daudet expresses many things; but he most frequently expresses himself—his own temper in the presence of life, his own feeling on a thousand occasions.—Henry James, Partial Portraits.
Daudet shares a lot of thoughts; however, he often reveals—his own attitude towards life, his personal feelings in countless situations.—Henry James, Partial Portraits.
Life, as he knows it, is sad, full of disappointment, bitterness, and suffering; and yet the conclusion he draws from experience is that this life, with all its sadness, is well worth living.—René Doumic, Contemporary French Novelists.
Life, as he understands it, is filled with sadness, disappointment, bitterness, and suffering; yet, from his experiences, he concludes that this life, despite all its sorrow, is definitely worth living.—René Doumic, Contemporary French Novelists.
The short stories are Daudet at his best, a style tense, virile, full of suppressed energy.... There is a nobler strain in these stories than speaks from the pages of Le Petit Chose [“Little What’s-His-Name”],—the ring of passionate patriotism, no longer the voice of Provence, or of Paris, but the voice of France.... The touching story, La Dernière Classe, might have come from the lips of an Alsatian, so true is it to the spirit of Alsace during those sorrowful days that followed the Franco-Prussian War.—Marion McIntyre, Introduction to Works.
The short stories showcase Daudet at his best, with a style that is intense, masculine, and packed with repressed energy.... There's a more elevated tone in these stories compared to what you find in Le Petit Chose [“Little What’s-His-Name”]—you can feel a passionate patriotism, no longer just the voice of Provence or Paris, but the voice of France.... The moving story, La Dernière Classe, could easily have been spoken by someone from Alsace, as it truly captures the spirit of Alsace during those painful days after the Franco-Prussian War.—Marion McIntyre, Introduction to Works.
Daudet’s two main series of stories (Letters from My Mill and Monday Tales) contain between sixty and seventy pieces.... They represent Daudet the poet, with his exquisite fancy, his winning charm, his subtle, indescribable style, his susceptibility to all that is lovely and joyous in nature and in human life; in short, in his sunny, mercurial Provençal temperament.... But there was another Daudet more or less superimposed upon this sunny, poetic Daudet, true child of Provence. Upon few Frenchmen of a generation ago did the terrible years of the Franco-Prussian War and the Commune produce a more sobering impression. The romanticist and poet deepened into a realistic observer of human life in all its phases.—W. P. Trent, Introduction to the volume on Daudet, in Little French Masterpieces.
Daudet’s two main collections of stories (Letters from My Mill and Monday Tales) include around sixty to seventy pieces.... They showcase Daudet as a poet, with his exquisite imagination, captivating charm, unique and indescribable style, and his sensitivity to all that is beautiful and joyful in nature and in human life; in short, his bright, lively Provençal personality.... However, there was another side to Daudet that somewhat overlapped with this bright, poetic Daudet, a true child of Provence. The terrible years of the Franco-Prussian War and the Commune left a deep and sobering impact on few Frenchmen of that generation. The romantic poet evolved into a realistic observer of human life in all its aspects.—W.P. Trent, Introduction to the volume on Daudet, in Little French Masterpieces.
[Pg 138]
[Pg 138]
The charm reflected in his works lay in the man himself, and earned for him a host of friends and an unclouded domestic life—it lay in his open, sunny, inconsequent, southern nature, with his quick sympathies, his irony at once forcible and delicate, his ready tears. It lay in the spontaneousness of his talent, in his Provençal gift of improvisation.... And it lay, too, in what was an essential characteristic of his nature, his rapid alternation of mood. Take even the slightest of his Contes [stories].... Within a few pages he is in turn sad, gay, sentimental, ironical, pathetic, and one mood glides into the next without jar or friction.—V. M. Crawford, Studies in Foreign Literature.
The charm shown in his works came from the man himself and brought him many friends and a happy home life. It was in his open, cheerful, carefree, southern nature, with his quick sympathies, his strong yet subtle irony, and his easily shed tears. It was in the spontaneity of his talent and his natural gift for improvisation. And it was also in what was a key part of his character, his fast shifts in mood. Even in the slightest of his Contes [stories], within just a few pages, he moves from sadness to joy, sentimentality, irony, and pathos, with one mood seamlessly flowing into the next.—V. M. Crawford, Studies in Foreign Literature.
His stories first of all amuse, excite, distress himself.... He never could, indeed, look on them disinterestedly, either while they were making or when they were made. He made them with actual tears and laughter; and they are read with actual tears and laughter by the crowd.... But he had no philosophy behind his fantastic and yet only too probable creations. Caring, as he thought, supremely for life, he cared really for that surprising, bewildering pantomime which life seems to be to those who watch its coloured movement, its flickering lights, its changing costumes, its powdered faces, without looking through the eyes into the hearts of the dancers. He wrote from the very midst of the human comedy; and it is from this that he seems at times to have caught the bodily warmth and the taste of the tears and the very ring of the laughter of men and women....—Arthur Symons, Studies in Prose and Verse.
His stories first and foremost entertain, thrill, and upset him.... He could never view them without personal feelings, whether he was creating them or after they were finished. He crafted them with genuine tears and laughter; and they’re experienced with real tears and laughter by the audience.... However, he had no deeper philosophy behind his imaginative yet all-too-plausible creations. Believing he cared above all for life, he was actually captivated by the surprising, bewildering spectacle that life appears to be for those who observe its vibrant movements, its flickering lights, its changing costumes, and its made-up faces, without looking deeper into the hearts of the performers. He wrote from the very center of the human drama; and it is from this that he seems to have occasionally absorbed the warmth, the taste of tears, and the actual sound of laughter from men and women....—Arthur Symons, Studies in Prose and Verse.
FURTHER REFERENCES FOR READING ON DAUDET
FURTHER REFERENCES FOR READING ON DAUDET
Chats about Books, Mayo W. Hazeltine (1883); French Fiction of To-day, M. S. Van de Velde (1891); Alphonse Daudet; a Biographical and Critical Study, R. H. Sherard (1894); The Literary Movement in France, Georges Pellissier (1897); Literary Likings, Richard[Pg 139] Burton (1898); The Historical Novel, Brander Matthews (1901); French Profiles, Edmund W. Gosse (1905); Short-Story Masterpieces, J. Berg Esenwein (1912).
Chats about Books, Mayo W. Hazeltine (1883); French Fiction of To-day, M. S. Van de Velde (1891); Alphonse Daudet; a Biographical and Critical Study, R. H. Sherard (1894); The Literary Movement in France, Georges Pellissier (1897); Literary Likings, Richard[Pg 139] Burton (1898); The Historical Novel, Brander Matthews (1901); French Profiles, Edmund W. Gosse (1905); Short-Story Masterpieces, J. Berg Esenwein (1912).
THE LAST CLASS
(La Dernière Classe)
(The Last Lesson)
The Story of a Little Alsatian
The Story of a Little Alsatian
BY ALPHONSE DAUDET
BY ALPHONSE DAUDET
Translation by The Editor
Translation by The Editor
That morning I was very late for school, so I was terribly afraid of a scolding—particularly since Master Hamel had said that he would examine us on participles, and I knew not the first word about them! For a little while I thought of playing truant and wandering the fields.
That morning I was running really late for school, so I was really worried about getting in trouble—especially since Mr. Hamel had said he would quiz us on participles, and I didn’t know the first thing about them! For a bit, I thought about skipping school and just wandering the fields.
2. The day was so warm, so clear!
2. The day was really warm and clear!
3. I could hear the blackbirds whistling on the border of the wood; and back of the sawmill, in the Rippert field, the Prussian soldiers were drilling. All of this was much more tempting to me than participial rules—but I was strong enough to resist and away to school I ran, as fast as I could.
3. I could hear the blackbirds singing at the edge of the woods; and behind the sawmill, in the Rippert field, the Prussian soldiers were practicing. All of this was way more appealing to me than grammar rules—but I was strong enough to resist and I ran off to school as fast as I could.
4. As I passed by the mayor’s office, I observed that a number of people were assembled before the little board on which notices were generally posted.The tone is struck here. Forecast of crisis. For two years every piece of bad news had come from that board—defeats [Pg 140] in battle, Franco-Prussian War.conscriptions, orders from headquarters—and, without stopping, I wondered:
4. As I walked by the mayor’s office, I noticed that a group of people was gathered around the small board where notices were usually put up.The tone is set here. Prediction of a crisis. For two years, every piece of bad news had come from that board—battle defeats [Pg 140]Franco-Prussian War., conscriptions, directives from headquarters—and, without pausing, I found myself thinking:
5. “What can it be this time!”
5. “What could it be this time!”
6. Just then, as I was running across the square, Wachter the blacksmith,Note the Prussian name. Alsace was a border province. who with his apprentice stood reading the placard, called after me:
6. Just then, as I was running across the square, Wachter the blacksmith,Notice the Prussian name. Alsace was a border region. who was standing with his apprentice reading the placard, called out to me:
7. “You needn’t hurry so fast, my lad, you’ll get to school soon enough!”
7. “You don’t have to rush so much, kid, you’ll get to school soon enough!”
8. I thought he was making game of me, and I kept right on, reaching Master Hamel’s little yard quite out of breath.
8. I thought he was just messing with me, and I kept going, reaching Master Hamel’s small yard completely out of breath.
The story proper begins.
9. Ordinarily, as school was opening, the uproar was so great that it could be heard clear out on the street—desk-lids opening and shutting, lessons droned aloud in unison, pupils holding their ears shut to learn their An old custom. lessons easier, while the master’s great ferrule beat upon the desks:
9. Normally, when school was starting, the noise was so loud it could be heard all the way out on the street—desks opening and closing, lessons recited together, students plugging their ears to learn their An ancient tradition. lessons better, while the teacher's big stick hit against the desks:
10. “A little quietness!”
"Just a little quiet!"
11. I had counted on all this noise to enable me to reach my seat unnoticed; but on that particular day everything was as quiet as a Sabbath morning. Through the open window I saw my schoolmates already ranged in their places, and Master Hamel pacing to and fro, his formidable iron ferrule under his arm. In the midst of that complete silence I had to open the door and go in! You can well imagine whether I blushed and was afraid!
11. I had hoped that all the noise would help me get to my seat without anyone noticing, but that day it was as quiet as a Sunday morning. Through the open window, I saw my classmates already seated, and Master Hamel walking back and forth with his intimidating iron ruler under his arm. In the middle of that complete silence, I had to open the door and walk in! You can imagine how embarrassed and scared I felt!
12. But, quite to the contrary, Master Hamel looked at me with no[Pg 141] sign of anger, and then very gently said:
12. But, on the contrary, Master Hamel looked at me without any sign of anger and then said very gently:
13. “Go directly to your seat, my little Frantz—we were about to begin without you.”
13. “Go straight to your seat, my little Frantz—we were just about to start without you.”
14. Immediately I stepped over the bench and sat down at my desk.At which others were also seated. Only then, when I had partly gotten over my fright, did I observe that our master was wearing his handsome blue riding-coat, his plaited ruff, and his black silk embroidered breeches—worn only on inspection days or when prizes were awarded.All the contrasts prepare us for the crisis. Furthermore, there was something extraordinary, something solemn, about the whole school. But what astounded me more than anything else was to see a number of people from the village sitting, as silent as we, on the usually empty benches at the back of the room: old Father Hauser Prussian name.with his three-cornered hat, the ex-mayor, the former postman, besides a number of others. All seemed cast down, and Father Hauser had brought with him an old primer, with chewed up leaves, Dazed. which he held wide-open up-side-down on his knees, and lying on it his huge spectacles.
14. As soon as I stepped over the bench and sat down at my desk.Where others were also sitting. Only then, when I had calmed down a bit, did I notice that our teacher was wearing his smart blue riding coat, his pleated collar, and his black silk embroidered breeches—only worn on inspection days or when prizes were given out.All the differences set us up for the crisis. Moreover, there was something unusual, something serious, about the whole school. But what surprised me even more was seeing several villagers sitting, as quietly as we were, on the usually empty benches at the back of the room: old Father Hauser Prussian title. with his three-cornered hat, the ex-mayor, the former postman, and a few others. They all looked downcast, and Father Hauser had brought with him an old primer, with chewed-up pages, Confused. which he held wide open upside down on his lap, with his large glasses resting on it.
15. While I was marvelling at all this, Master Hamel had mounted his platform, and in the same gentle and serious voice with which he had greeted me, he said to us:
15. While I was amazed by all this, Master Hamel had climbed up to his platform, and in the same gentle and serious voice he had used to greet me, he said to us:
16. “My children, this is the last day that I shall keep school. The order has come from Berlin that [Pg 142] nothing but German shall be taught in the schools of Alsace and Lorraine.This law went into effect July 1, 1870. The new school-master will arrive to-morrow. This is the last class in French—I beg of you to be very attentive!”
16. “My children, today is the last day I will be your teacher. The order has come from Berlin that [Pg 142] only German will be taught in the schools of Alsace and Lorraine.This law took effect on July 1, 1870. The new teacher will arrive tomorrow. This is the last class in French—I ask you to pay close attention!”
17. His simple words overwhelmed me. This, then, was the notice they had posted at the mayor’s office. Oh, the scoundrels!
17. His straightforward words hit me hard. So, this was the notice they had put up at the mayor's office. Oh, those scoundrels!
18. My last lesson in French!
18. My final lesson in French!
19. And I was scarcely able to write! Then I was never to learn! I must stop short just where I was!Scarcely a paragraph but appeals to emotion in some form. How angry with myself it made me to remember the time I had frittered away, and the lessons I had missed while hunting birds’ nests or sliding on the Saar! My books now seemed to me like old comrades from whom it broke my heart to part, and The Saar flows northward into the Moselle. only a moment since I had found them—my grammar, my sacred history—so dull, and so heavy to carry! It was just the same when I thought of Master Hamel. He was going away. I should never see him again—the thought made me forget all his punishments and strokes with the ferrule.
19. And I could barely write! Then I was never going to learn! I had to stop right where I was!It's just a short paragraph, but it touches on emotions in some way. It made me so angry at myself to think about all the time I had wasted and the lessons I had missed while looking for birds' nests or sliding on the Saar! My books now felt to me like old friends I was heartbroken to leave, and The Saar flows north into the Moselle. just a moment ago I had thought they were—my grammar, my sacred history—so boring and so heavy to carry! It was just the same when I thought of Master Hamel. He was leaving. I would never see him again—the thought made me forget all about his punishments and hits with the ruler.
20. Poor old man! So it was in honor of that last lesson in French that he had donned his Sunday best—and now I understood why those old folks from the village were seated at the back of the room. Now to the villagers. It seemed to say they regretted that they had not visited the school oftener. Age indicated, thus adding to the pathos. Besides, it was a sort of way of thanking[Pg 143] our teacher for his forty years of devoted service, and of showing These are the key words. their love for the fatherland which was passing away.
20. Poor old man! So it was in honor of that last French lesson that he had put on his best clothes—and now I understood why those old folks from the village were sitting at the back of the room. Now to the locals. It seemed to indicate that they regretted not visiting the school more often. Age indicated, adding to the emotional impact. Besides, it was a way of thanking[Pg 143] our teacher for his forty years of dedicated service and showing These are the keywords. their love for the homeland that was fading away.
21. Just at this point in my reflections I heard my name called—it was my turn to recite. Oh, I would have given anything to be able to recite without a slip, in a strong, clear voice, that celebrated rule about participles; but at the very first words I grew confused and I only stood there at my bench swaying back and forward, my heart swelling, not daring to lift my head. At length I heard Master Hamel saying to me:
21. Just as I was lost in thought, I heard my name called—it was my turn to recite. I would have done anything to recite smoothly, in a strong, clear voice, that famous rule about participles. But the moment I started, I got confused and just stood there at my desk swaying back and forth, my heart racing, too scared to lift my head. Finally, I heard Master Hamel saying to me:
22. “My little Frantz, I shall not scold you; you are punished enough, I think. It is so with all of us; every day we reassure ourselves: ‘Bah! I have plenty of time. To-morrow I shall learn.’ Then you see what happens. Alas! it has ever been the great misfortune of our Alsace to defer its lessons until the morrow.Daudet here teaches all France a lesson—and all nations as well. And now these people are justified in saying to us, ‘What, you pretend to be French, and you are able neither to speak nor to write your language!’ But in all this you are not the most guilty one, my poor Frantz—we are all worthy of a full measure of self-reproach.
22. “My little Frantz, I won’t scold you; I think you’ve been punished enough. This happens to all of us; every day we tell ourselves, ‘Bah! I have plenty of time. I’ll learn tomorrow.’ Then you see what happens. Unfortunately, it's always been our great misfortune in Alsace to postpone our lessons until tomorrow.Daudet teaches a lesson to all of France—and to all nations as well. And now these people are right to say to us, ‘What, you claim to be French, yet you can neither speak nor write your language!’ But in all of this, you’re not the most to blame, my poor Frantz—we are all deserving of a full dose of self-reproach."
23. “Your parents have not taken enough care to see that you got an education. They preferred to save a few more sous by putting you to work in the fields or in the factories.[Pg 144] And I—have I nothing for which to blame myself? Have I not frequently sent you to water my garden instead of keeping you at your books? Or have I ever hesitated to dismiss school when I wanted to go trout-fishing?”
23. “Your parents haven’t taken enough care to make sure you got an education. They chose to save a little more money by sending you to work in the fields or factories.[Pg 144] And what about me—do I have nothing to blame myself for? Haven’t I often sent you to water my garden instead of letting you focus on your studies? Or have I ever hesitated to skip school when I wanted to go trout fishing?”
24. So Master Hamel, passing from one theme to another, began to speak to us about our French language. He said that it was the most beautiful language in the whole world—the most clear, the most substantial; that we must ever cherish it among ourselves, and never forget it, for when a nation falls into bondage, just so long as it clings to its language, it holds the key of its prison.[21]
24. So Master Hamel, moving from one topic to another, started talking to us about our French language. He said it was the most beautiful language in the world—clear and rich. He emphasized that we should always treasure it and never forget it, because when a nation falls into oppression, as long as it clings to its language, it holds the key to its prison. [21]
25. Then he took a grammar and read us our lesson. I was astonished to see how readily I understood! Everything he said seemed to me so easy—so very easy. I believe that never before had I listened so attentively, and that he, in turn, had never explained things with such So does the teacher’s skill. infinite patience. It almost seemed as though the poor fellow wished to impart all his knowledge to us before he left us—to drive it all into our heads with one blow.
25. Then he picked up a grammar book and taught us our lesson. I was amazed at how easily I understood! Everything he said felt so simple—really simple. I think I had never listened so closely before, and he had never explained things with such infinite patience. It almost felt like the poor guy wanted to share all his knowledge with us before he left—to cram it all into our heads in one go.
26. The lesson ended, we went on to the exercises in penmanship. For that day Master Hamel had gotten ready some entirely new copies on which he had written in a neat, round hand: “France, Alsace, France, Alsace.”A proof of unusual absorption. [Pg 145] The slips of paper looked like tiny flags, waving all about the room and hanging from the rods of our desks. You should have seen how diligently everyone worked, and how quiet it was! Only the scratching of the pens over the paper could be heard. Once some beetles flew in, but nobody paid any attention to them—not even the very smallest chaps, who were struggling to draw their oblique lines with a will and an application as sincere as though even the lines themselves were French....Note the pathos of the appeal. Pigeons cooed in low tones on the roof of the schoolhouse, and as I listened to them I thought to myself:
26. When the lesson was over, we moved on to the handwriting exercises. That day, Master Hamel had prepared some brand-new sheets where he had written in a neat, round hand: “France, Alsace, France, Alsace.”Proof of unusual absorption. [Pg 145] The pieces of paper looked like little flags, waving around the room and hanging from the rods of our desks. You should have seen how hard everyone worked and how quiet it was! The only sound was the scratching of pens on paper. Once some beetles flew in, but nobody noticed them—not even the youngest kids, who were focused on drawing their angled lines with as much determination and sincerity as if the lines themselves were French....Please note the emotional impact of the appeal. Pigeons cooed softly on the roof of the schoolhouse, and as I listened to them, I thought to myself:
27. “I wonder if they are going to make them coo in German too!”
27. “I wonder if they’re going to make them coo in German too!”
28. Now and then, as I lifted my eyes from my task, I saw Master Hamel seated motionless in his chair, and staring at things about him as though in that look he would carry away with him the whole of his little schoolhouse. Think of it! For forty years he had occupied that same place, his yard in front of him, and his school always unchanged. Only the benches and desks were rubbed by use until they were polished; the walnuts in the yard had grown large, and the hop-vine he himself had planted now hung in festoons from The lad reasons as a lad—to him the pathos is not for himself but for the old man. the windows clear to the roof. How heartbreaking it must have been for that poor man to leave all this—to hear his sister moving to and fro[Pg 146] in the room overhead as she packed their trunks! Next day they were going away—to leave the fatherland forever.
28. Now and then, as I looked up from my work, I saw Master Hamel sitting still in his chair, staring at everything around him as if he wanted to take the whole little schoolhouse with him in that gaze. Can you imagine? For forty years, he had been in that same spot, with his yard in front of him and his school always the same. The only changes were the benches and desks, which had become polished from use; the walnut trees in the yard had grown tall, and the hop vine he had planted was now draping in bunches from the windows up to the roof. It must have been so heartbreaking for that poor man to leave all of this—to hear his sister moving around in the room above as she packed their trunks! The next day they were leaving—to depart from their homeland forever.
29. All the same, he had the courage to keep the school to the very closing minute. The writing over, we had our lesson in history. Then the little ones sang in unison their ba, be, bi, bo, bu. Yonder, at the back of the room, old Father Hauser was holding his spelling-book with both hands, and with the aid of his great spectacles he spelled out the letters—one could see that even he too was applying himself. Emotion shook his voice, and to hear him was so droll that we all wanted to laugh—and to cry. Ah! I shall always remember that last class.
29. Still, he had the guts to keep the school open until the very last minute. After we finished writing, we had our history lesson. Then the little ones sang their ba, be, bi, bo, bu together. Over there, at the back of the room, old Father Hauser was holding his spelling book with both hands, and with the help of his big glasses, he spelled out the letters—one could tell that he was trying hard too. Emotion trembled in his voice, and listening to him was so funny that we all wanted to laugh—and cry. Ah! I will always remember that last class.
Formal Crisis—the end approaches.
Note the force of this.
Moral qualities affect the physical.
30. Suddenly the church clock sounded twelve. Then the Angelus. At the same instant were heard under our very windows the trumpets of the Prussians returning from drill. Pale as death, Master Hamel rose from his chair. Never had he seemed so large.
30. Suddenly, the church clock struck twelve. Then came the Angelus. At that very moment, we heard the trumpets of the Prussians returning from drill just outside our windows. Pale as a ghost, Master Hamel stood up from his chair. He had never seemed so large.
31. “My friends,” he began; “my friends, I—I—”
31. “My friends,” he started; “my friends, I—I—”
32. But something choked him. He could not end the sentence.
32. But something held him back. He couldn't finish the sentence.
33. Then he turned to the blackboard, seized a piece of chalk, and, bearing with all his strength, he wrote in the largest letters he could make:
33. Then he turned to the whiteboard, grabbed a piece of chalk, and with all his might, he wrote in the biggest letters he could manage:
34. “VIVE LA FRANCE!”
"LONG LIVE FRANCE!"
35. Then he stood there, his head leaning against the wall, and without a word he signed to us with his hand:
35. Then he stood there, his head resting against the wall, and without saying a word, he gestured to us with his hand:
36. “It is the end ... go!”
"It's over... go!"
[Pg 147]
[Pg 147]
KIPLING AND HIS WRITINGS
Joseph Rudyard Kipling was born in Bombay, India, December 30, 1865, of English parents, his father, J. Lockwood Kipling, an artist of ability, having been in the colonial Civil Service. He was educated at the United Services College, Devon, but returned to India in 1882 and became an editorial writer and correspondent. In 1889 he began extensive travels. For several years he resided in Brattleboro, Vermont, but returned to England and settled in Rottingdean, Sussex.
Joseph Rudyard Kipling was born in Bombay, India, on December 30, 1865, to English parents. His father, J. Lockwood Kipling, was a talented artist who worked in the colonial Civil Service. He was educated at the United Services College in Devon but went back to India in 1882 to work as an editorial writer and correspondent. In 1889, he started traveling extensively. He lived in Brattleboro, Vermont, for several years before returning to England and settling in Rottingdean, Sussex.
Rudyard Kipling has attained celebrity as poet, novelist, and short-story writer. His best-known poems are found in the collections entitled Departmental Ditties, Barrack-Room Ballads, The Seven Seas, and The Five Nations. Kim is his ablest novel. The two “Jungle Books” constitute a remarkable collection of connected tales of the jungle folk. His best short-stories are found in the following volumes: Soldiers Three (the “Mulvaney” stories, “The Man Who Was,” etc.), The Phantom Rickshaw (“The Man Who Would be King,” “The Strange Ride of Morrowbie Jukes,” etc.), Wee Willie Winkie and Other Stories (“The Drums of the Fore and Aft,” “Under the Deodars,” etc.), The Day’s Work (“The Bridge Builders,” “The Brushwood Boy,” etc.), and Traffic and Discoveries (“They,” etc.). “Without[Pg 148] Benefit of Clergy” first appeared in Macmillan’s Magazine (London) in June, 1890, and in the June 7th and 14th, 1890, numbers of Harper’s Weekly (New York). In the same year it was published in the volume, The Courting of Dinah Shadd, and Other Stories, but in 1891 it was included in the volume Life’s Handicap: being Stories of Mine Own People.
Rudyard Kipling has become well-known as a poet, novelist, and short-story writer. His most famous poems are in the collections titled Departmental Ditties, Barrack-Room Ballads, The Seven Seas, and The Five Nations. Kim is his most accomplished novel. The two "Jungle Books" feature an impressive collection of interconnected stories about jungle life. His best short stories can be found in these volumes: Soldiers Three (the “Mulvaney” stories, “The Man Who Was,” etc.), The Phantom Rickshaw (“The Man Who Would be King,” “The Strange Ride of Morrowbie Jukes,” etc.), Wee Willie Winkie and Other Stories (“The Drums of the Fore and Aft,” “Under the Deodars,” etc.), The Day’s Work (“The Bridge Builders,” “The Brushwood Boy,” etc.), and Traffic and Discoveries (“They,” etc.). “Without[Pg 148] Benefit of Clergy” was first published in Macmillan’s Magazine (London) in June 1890, and in the June 7th and 14th, 1890, issues of Harper’s Weekly (New York). That same year, it appeared in the collection The Courting of Dinah Shadd, and Other Stories, but in 1891 it was included in Life’s Handicap: being Stories of Mine Own People.
Rudyard Kipling is without doubt the greatest of living short-story writers, though in interest his later fiction does not equal his productions of the early nineties. His journalistic work drilled him in compression; his precocious intuitions and personal experience of life in India opened up a fresh and fascinating field; his genius taught him how to tell his stories with unfailing variety, a robust humor, and an understanding of the human heart quite uncanny in one so young. In style, he is a master of the unexpected; in narration, he is by turns deliberate and swift; in atmospheric painting, he transports us to real places, wherein real folk do real things.
Rudyard Kipling is definitely the best living short-story writer, although his later work isn't as captivating as what he produced in the early nineties. His journalism taught him to be concise; his early insights and personal experiences in India opened up a new and interesting world; his talent shows in how he tells his stories with constant variety, strong humor, and an almost eerie understanding of the human heart for someone so young. His style surprises us; his narration shifts between slow and fast; and in creating atmosphere, he takes us to real places where real people do real things.
Tell them first of those things that thou hast seen and they have seen together. Thus their knowledge will piece out thy imperfections. Tell them of what thou alone hast seen, then what thou hast heard, and since they be children tell them of battles and kings, horses, devils, elephants, and angels, but omit not to tell them of love and such like. All the earth is full of tales to him who listens and does not drive away the poor from his door. The poor are the best of tale-tellers; for they must lay their ear to the ground every night.—Rudyard Kipling, Preface to Life’s Handicap.
Tell them first about the things you’ve seen and they’ve seen together. This way, what they know will fill in your gaps. Share with them what you’ve seen on your own, then what you’ve heard. Since they are children, tell them stories of battles, kings, horses, demons, elephants, and angels, but don’t forget to talk about love and similar things. The whole world is full of stories for those who listen and don’t turn away the needy from their door. The poor are the best storytellers because they have to listen closely every night.—Rudyard Kipling, Preface to Life’s Handicap.
[Pg 149]
[Pg 149]
The tremulous passion of Ameera, her hopes, her fears, and her agonies of disappointment, combine to form by far the most tender page which Mr. Kipling has written.—Edmund Gosse, Questions at Issue.
The shaky passion of Ameera, her hopes, her fears, and her pain of disappointment, all come together to create the most heartfelt page that Mr. Kipling has written.—Edmund Gosse, Questions at Issue.
... The truly appreciative reader should surely have no quarrel with the primitive element in Mr. Kipling’s subject-matter, or with what, for want of a better name, I may call his love of low life. What is that but essentially a part of his freshness? And for what part of his freshness are we exactly more thankful than for just this smart jostle that he gives the old stupid superstition that the amiability of a story-teller is the amiability of the people he represents—that their vulgarity, or depravity, or gentility, or fatuity are tantamount to the same qualities in the painter himself?—Henry James, Introduction to Works.
... The truly appreciative reader shouldn't have any issues with the more basic elements in Mr. Kipling’s subject matter, or with what I might call his fascination with everyday life. Isn’t that a key part of what makes him refreshing? And what aspect of his freshness are we more grateful for than the clever challenge he poses to the outdated belief that a storyteller's charm reflects the charm of their characters—that their crudeness, corruption, sophistication, or foolishness is equivalent to those same traits in the storyteller themselves? —Henry James, Introduction to Works.
It was not until “Without Benefit of Clergy” that he came to his full strength in pathetic prose. The history of Ameera is one of the triumphs of the short story. Its characterization is vivid; its progress direct and poignant. I do not wish even for an instant to seem to cheapen one of the most touching and beautiful stories in the world when I call it journalism. But the voice of the desolate mother breaking into the nursery rime of the wicked crow,
It wasn't until “Without Benefit of Clergy” that he truly showcased his talent in emotional prose. The story of Ameera is one of the great successes of the short story format. Its characters are vivid, and its narrative is straightforward and impactful. I don't want to diminish one of the most moving and beautiful stories ever when I refer to it as journalism. But the voice of the heartbroken mother interrupting the nursery rhyme of the wicked crow,
“And the wild plums grow in the jungle, only a penny a pound,
Only a penny a pound, baba—only—,”
“And the wild plums grow in the jungle, just a penny a pound,
Just a penny a pound, dad—only—,”
and every pathetic moment, is chosen by an inspired sense for what would most feelingly grasp the interest of the reader. This is high art, with intense feeling behind it—otherwise it would not be so excellent. But it is also good journalism.—Henry Seidel Canby, The Short-Story in English.
and every awkward moment is selected with a creative awareness of what would most deeply engage the reader. This is high art, driven by strong emotion—otherwise, it wouldn't be so remarkable. But it’s also effective journalism.—Henry Seidel Canby, The Short-Story in English.
For Mr. Kipling to write a story without some firm human touch, however slight, would be impossible.... In his effects Mr. Kipling is usually photographic (“cinematographic” is better), but his methods are almost invariably, for want of a better word, “artistic.” I mean that whereas the principle of selection, which is a vital principle of art, can operate but little in photography,[Pg 150] it is seen to be remarkably active in all Mr. Kipling’s best work. His stories, so to speak, represent the epigram of action, the epigram of a given situation.... It is from the lives of such Englishmen ... that Mr. Kipling has gathered so many of his vivid anecdotes. A great number of them ... are the lesser lights and darks contributing to such more serious elements of the general picture as “At the End of the Passage,” “Without Benefit of Clergy,” “In Flood Time,” “The Man Who Was,” behind which looms vast in the background the image of that old Sphinx of the Plains complete in mystery as no other writer has ever been able to suggest her.... Also he had written at least one love-story (“Without Benefit of Clergy”) that broke one’s heart.... For all the humour and buoyancy of his writings, Mr. Kipling is at heart a pessimist, and, perhaps, his sincerest expression of opinion in regard to the government of the universe is contained in the fierce Omarian exclamation of Holden in “Without Benefit of Clergy,” addressed to no one in particular, but evidently meant to reach far up into the skies: “O you brute! You utter brute!” So Omar bade Allah “man’s forgiveness give and take.”—Richard Le Gallienne, Rudyard Kipling: A Criticism.
For Mr. Kipling to write a story without some kind of human connection, no matter how small, would be impossible.... In his effects, Mr. Kipling is usually photographic (“cinematographic” is better), but his methods are almost always, for lack of a better word, “artistic.” I mean that while the principle of selection, which is a vital aspect of art, can hardly operate in photography,[Pg 150] it is notably active in all of Mr. Kipling’s best work. His stories, so to speak, represent the essence of action, the essence of a specific situation.... It is from the lives of such Englishmen ... that Mr. Kipling has gathered many of his vivid anecdotes. A great number of them ... are the minor details contributing to the more serious elements of the overall picture such as “At the End of the Passage,” “Without Benefit of Clergy,” “In Flood Time,” “The Man Who Was,” behind which looms large in the background the image of that old Sphinx of the Plains, complete in mystery as no other writer has ever been able to suggest her.... He also wrote at least one love story (“Without Benefit of Clergy”) that broke one’s heart.... For all the humor and lightness in his writing, Mr. Kipling is really a pessimist, and perhaps his most genuine expression of opinion about the governance of the universe is found in the fierce Omarian remark from Holden in “Without Benefit of Clergy,” directed at no one in particular, but clearly meant to reach high up into the skies: “O you brute! You utter brute!” So Omar asked Allah for “man's forgiveness to give and take.”—Richard Le Gallienne, Rudyard Kipling: A Criticism.
FURTHER REFERENCES FOR READING ON KIPLING
FURTHER REFERENCES FOR READING ON KIPLING
Essays in Little, Andrew Lang (1894); Cervantes, Zola, Kipling & Co., in Aspects of Modern Fiction, Brander Matthews (1896); My Contemporaries in Fiction, J. D. C. Murray (1897); A Ken of Kipling, Will M. Clemens (1899); Victorian Novelists, James Oliphant (1899); A Kipling Primer, F. L. Knowles (1899); The Religion of Mr. Kipling, W. B. Parker (1899); Rudyard Kipling, A Biographical Sketch, C. E. Norton (1899).
Essays in Little, Andrew Lang (1894); Cervantes, Zola, Kipling & Co., in Aspects of Modern Fiction, Brander Matthews (1896); My Contemporaries in Fiction, J. D. C. Murray (1897); A Ken of Kipling, Will M. Clemens (1899); Victorian Novelists, James Oliphant (1899); A Kipling Primer, F. L. Knowles (1899); The Religion of Mr. Kipling, W. B. Parker (1899); Rudyard Kipling, A Biographical Sketch, C. E. Norton (1899).
[Pg 151]
[Pg 151]
FOR ANALYSIS
FOR ANALYSIS
WITHOUT BENEFIT OF CLERGY
BY RUDYARD KIPLING
BY RUDYARD KIPLING
Before my Spring I garnered Autumn’s gain,
Out of her time my field was white with grain,
The year gave up her secrets to my woe.
Forced and deflowered each sick season lay,
In mystery of increase and decay;
I saw the sunset ere men saw the day,
Who am too wise in that I should not know.
Before my spring, I reaped autumn’s rewards,
Out of season, my field was full of grain,
The year showed its secrets to my sadness.
Forced and laid bare, each troubled season passed,
In the mystery of growth and decline;
I witnessed the sunset before others saw the dawn,
Who knows too much for my own benefit.
Bitter Waters.
Bitter Waters.
I
I
“But if it be a girl?”
“But what if it’s a girl?”
2. “Lord of my life, it cannot be. I have prayed for so many nights, and sent gifts to Sheikh Badl’s shrine so often, that I know God will give us a son—a man-child that shall grow into a man. Think of this and be glad. My mother shall be his mother till I can take him again, and the mullah of the Pattan mosque shall cast his nativity—God send he be born in an auspicious hour!—and then, thou wilt never weary of me, thy slave.”
2. “Lord of my life, it can't be. I've prayed for so many nights, and sent gifts to Sheikh Badl’s shrine so often, that I know God will give us a son—a baby boy who will grow into a man. Think of this and be happy. My mother will be his mother until I can take him back, and the mullah of the Pattan mosque will cast his birth chart—God grant he is born at a good time!—and then, you’ll never grow tired of me, your servant.”
3. “Since when hast thou been a slave, my queen?”
3. “Since when have you been a slave, my queen?”
4. “Since the beginning—till this mercy came to me. How could I be sure of thy love when I knew that I had been bought with silver?”
4. “From the very start—until this mercy came to me. How could I be sure of your love when I knew I had been bought with silver?”
[Pg 152]
[Pg 152]
5. “Nay, that was the dowry. I paid it to thy mother.”
5. “No, that was the dowry. I gave it to your mother.”
6. “And she has buried it, and sits upon it all day long like a hen. What talk is yours of dower! I was bought as though I had been a Lucknow dancing-girl instead of a child.”
6. “And she has buried it, and sits on it all day long like a hen. What are you talking about regarding a dowry! I was bought as if I were a Lucknow dancer instead of a child.”
7. “Art thou sorry for the sale?”
7. "Are you sorry about the sale?"
8. “I have sorrowed; but to-day I am glad. Thou wilt never cease to love me now?—answer, my king.”
8. “I’ve been sad; but today I’m happy. You’ll never stop loving me now, right?—answer me, my king.”
9. “Never—never. No.”
"Never—never. Nope."
10. “Not even though the mem-log—the white women of thy own blood—love thee? And remember, I have watched them driving in the evening; they are very fair.”
10. “Not even though the mem-log—the white women in your own family—love you? And remember, I have seen them driving in the evening; they are very beautiful.”
11. “I have seen fire-balloons by the hundred. I have seen the moon, and—then I saw no more fire-balloons.”
11. “I’ve seen hundreds of fire balloons. I’ve seen the moon, and—then I didn’t see any more fire balloons.”
12. Ameera clapped her hands and laughed. “Very good talk,” she said. Then with an assumption of great stateliness: “It is enough. Thou hast my permission to depart—if thou wilt.”
12. Ameera clapped her hands and laughed. “Great conversation,” she said. Then, with a sense of seriousness, she added, “That’s enough. You have my permission to leave—if you want.”
13. The man did not move. He was sitting on a low red-lacquered couch in a room furnished only with a blue and white floor-cloth, some rugs, and a very complete collection of native cushions. At his feet sat a woman of sixteen, and she was all but all the world in his eyes. By every rule and law she should have been otherwise, for he was an Englishman, and she a Mussulman’s daughter bought two years before from her mother, who, being left[Pg 153] without money, would have sold Ameera shrieking to the Prince of Darkness if the price had been sufficient.
13. The man didn't move. He was sitting on a low red lacquered couch in a room that was only furnished with a blue and white floor cloth, some rugs, and a complete collection of native cushions. At his feet sat a sixteen-year-old girl, and she was everything to him. By every rule and law, things should have been different, since he was English and she was the daughter of a Muslim man, bought two years earlier from her mother, who, having no money, would have sold Ameera screaming to the Prince of Darkness if the price had been right.[Pg 153]
14. It was a contract entered into with a light heart; but even before the girl had reached her bloom she came to fill the greater portion of John Holden’s life. For her, and the withered hag, her mother, he had taken a little house overlooking the great red-walled city, and found—when the marigolds had sprung up by the well in the courtyard and Ameera had established herself according to her own ideas of comfort, and her mother had ceased grumbling at the inadequacy of the cooking-places, the distance from the daily market, and at matters of housekeeping in general—that the house was to him his home. Any one could enter his bachelor’s bungalow by day or night, and the life that he led there was an unlovely one. In the house in the city his feet only could pass beyond the outer courtyard to the women’s rooms; and when the big wooden gate was bolted behind him he was king in his own territory, with Ameera for queen. And there was going to be added to this kingdom a third person whose arrival Holden felt inclined to resent. It interfered with his perfect happiness. It disarranged the orderly peace of the house that was his own. But Ameera was wild with delight at the thought of it, and her mother not[Pg 154] less so. The love of a man, and particularly a white man, was at the best an inconstant affair, but it might, both women argued, be held fast by a baby’s hands. “And then,” Ameera would always say, “then he will never care for the white mem-log. I hate them all—I hate them all.”
14. It was a contract made with a carefree spirit; but even before the girl reached adulthood, she became a significant part of John Holden’s life. For her and her cranky mother, he had rented a small house overlooking the vast red-walled city. He discovered that once the marigolds blossomed around the well in the courtyard, Ameera settled in with her own ideas of comfort, and her mother stopped complaining about the cooking facilities, the distance to the market, and household issues in general—the house felt like home to him. Anyone could come into his bachelor’s bungalow at any time, and the life he led there was far from pleasant. In the house in the city, he could only enter the women’s quarters from the outer courtyard; and when he bolted the big wooden gate behind him, he ruled his own domain, with Ameera as queen. Yet now, a third person was about to enter this kingdom, and Holden was inclined to view this as an intrusion. It disrupted his perfect happiness and disturbed the ordered peace of the home that he claimed as his own. But Ameera was ecstatic at the thought of it, and her mother was equally thrilled. The love of a man, especially a white man, could be quite fickle, but both women believed it could be secured by a baby’s grasp. “And then,” Ameera would always say, “then he will never care for the white mem-log. I hate them all—I hate them all.”
15. “He will go back to his own people in time,” said the mother; “but by the blessing of God that time is yet afar off.”
15. “He'll return to his own people eventually,” said the mother; “but thankfully, that time is still a long way off.”
16. Holden sat silent on the couch thinking of the future, and his thoughts were not pleasant. The drawbacks of a double life are manifold. The Government, with singular care, had ordered him out of the station for a fortnight on special duty in the place of a man who was watching by the bedside of a sick wife. The verbal notification of the transfer had been edged by a cheerful remark that Holden ought to think himself lucky in being a bachelor and a free man. He came to break the news to Ameera.
16. Holden sat quietly on the couch, thinking about the future, and his thoughts weren't pleasant. The downsides of living a double life are many. The Government had carefully ordered him out of the station for two weeks on special duty, taking the place of a man who was keeping watch by his sick wife's bedside. The verbal notice of the transfer came with a cheerful comment suggesting that Holden should consider himself lucky for being a bachelor and a free man. He went to break the news to Ameera.
17. “It is not good,” she said slowly, “but it is not all bad. There is my mother here, and no harm will come to me—unless indeed I die of pure joy. Go thou to thy work and think no troublesome thoughts. When the days are done I believe ... nay, I am sure. And—and then I shall lay him in thy arms, and thou wilt love me forever. The train goes to-night, at midnight[Pg 155] is it not? Go now, and do not let thy heart be heavy by cause of me. But thou wilt not delay in returning? Thou wilt not stay on the road to talk to the bold white mem-log. Come back to me swiftly, my life.”
17. “It’s not great,” she said slowly, “but it’s not all bad. My mom is here, and I won’t come to harm—unless I die from sheer happiness. Go do your work and don’t worry about anything. When the days are done, I believe... no, I’m sure. And then I’ll lay him in your arms, and you’ll love me forever. The train leaves tonight at midnight, right? Go now, and don’t let your heart be heavy because of me. But you won’t delay in coming back, will you? You won’t stay on the road to chat with the bold white mem-log. Come back to me quickly, my love.”
18. As he left the courtyard to reach his horse that was tethered to the gate-post, Holden spoke to the white-haired old watchman who guarded the house, and bade him under certain contingencies despatch the filled-up telegraph-form that Holden gave him. It was all that could be done, and with the sensations of a man who has attended his own funeral Holden went away by the night mail to his exile. Every hour of the day he dreaded the arrival of the telegram, and every hour of the night he pictured to himself the death of Ameera. In consequence his work for the state was not of first-rate quality, nor was his temper towards his colleagues of the most amiable. The fortnight ended without a sign from his home, and, torn to pieces by his anxieties, Holden returned to be swallowed up for two precious hours by a dinner at the club, wherein he heard, as a man hears in a swoon, voices telling him how execrably he had performed the other man’s duties, and how he had endeared himself to all his associates. Then he fled on horseback through the night with his heart in his mouth. There was no answer at first to his blows on the gate, and he had just[Pg 156] wheeled his horse round to kick it in when Pir Khan appeared with a lantern and held his stirrup.
18. As he left the courtyard to get to his horse tied to the gate post, Holden spoke to the old watchman with white hair who guarded the house and asked him to send the filled-out telegram form that Holden gave him under certain conditions. It was all he could do, and feeling like a man who’s just attended his own funeral, Holden took the night mail to his exile. Every hour of the day, he dreaded the arrival of the telegram, and every hour of the night, he imagined Ameera's death. Because of this, his work for the state wasn't up to par, and his temper towards his colleagues was far from friendly. The two weeks passed without any news from home, and overwhelmed with anxiety, Holden returned to spend two precious hours at dinner at the club, where he half-listened, like a man in a daze, to voices criticizing how poorly he had handled someone else's duties and how he had annoyed all his associates. Then he rushed away on horseback through the night, his heart racing. At first, there was no response to his knocks on the gate, and he was just about to turn his horse around to kick it when Pir Khan appeared with a lantern and held his stirrup.
19. “Has aught occurred?” said Holden.
19. “Has anything happened?” said Holden.
20. “The news does not come from my mouth, Protector of the Poor, but—” He held out his shaking hand as befitted the bearer of good news who is entitled to a reward.
20. “The news isn’t coming from my mouth, Protector of the Poor, but—” He extended his trembling hand, as is proper for someone bringing good news who deserves a reward.
21. Holden hurried through the courtyard. A light burned in the upper room. His horse neighed in the gateway, and he heard a shrill little wail that sent all the blood into the apple of his throat. It was a new voice, but it did not prove that Ameera was alive.
21. Holden rushed through the courtyard. A light was on in the upper room. His horse whinnied at the gate, and he heard a high-pitched little cry that made his heart race. It was a new voice, but it didn't mean that Ameera was alive.
22. “Who is there?” he called up the narrow brick staircase.
22. “Who's there?” he called up the narrow brick staircase.
23. There was a cry of delight from Ameera, and then the voice of the mother, tremulous with old age and pride—“We be two women and—the man—thy—son.”
23. Ameera let out a joyful shout, followed by her mother's voice, shaky with age and pride—“We are two women and—the man—your—son.”
24. On the threshold of the room Holden stepped on a naked dagger, that was laid there to avert ill-luck, and it broke at the hilt under his impatient heel.
24. On the threshold of the room Holden stepped on a bare dagger, that was placed there to ward off bad luck, and it shattered at the hilt under his restless heel.
25. “God is great!” cooed Ameera in the half-light. “Thou hast taken his misfortunes on thy head.”
25. “God is great!” Ameera said softly in the dim light. “You’ve taken his troubles upon yourself.”
26. “Ay, but how is it with thee, life of my life? Old woman, how is it with her?”
26. “Yeah, but how are you, the love of my life? Old woman, how is she doing?”
27. “She has forgotten her sufferings for joy that the child is born.[Pg 157] There is no harm; but speak softly,” said the mother.
27. “She has forgotten her pain for the joy of the child being born.[Pg 157] There’s no harm; but speak softly,” said the mother.
28. “It only needed thy presence to make me all well,” said Ameera. “My king, thou hast been very long away. What gifts hast thou for me? Ah, ah! It is I that bring gifts this time. Look, my life, look! Was there ever such a babe? Nay, I am too weak even to clear my arm from him.”
28. “All I needed was you to feel better,” Ameera said. “My king, you’ve been gone for so long. What gifts do you have for me? Ah, ah! This time, I’m the one bringing gifts. Look, my love, look! Is there ever such a baby? No, I’m too weak to even move my arm away from him.”
29. “Rest then, and do not talk. I am here, bachari [little woman].”
29. “Just rest and don’t talk. I’m here, bachari [little woman].”
30. “Well said, for there is a bond and a heel-rope [peecharee] between us now that nothing can break. Look—canst thou see in this light? He is without spot or blemish. Never was such a man-child. Ya illah! he shall be a pundit—no, a trooper of the Queen. And, my life, dost thou love me as well as ever, though I am faint and sick and worn? Answer truly.”
30. “Well said, because there’s a connection and a heel-rope [peecharee] between us now that nothing can break. Look—can you see in this light? He is perfect. Never was there such a child. Ya illah! He will be a scholar—no, a soldier of the Queen. And, my love, do you still love me as much as ever, even though I feel weak and sick and worn out? Answer honestly.”
31. “Yea. I love as I have loved, with all my soul. Lie still, pearl, and rest.”
31. “Yeah. I love like I always have, with all my soul. Lie still, pearl, and rest.”
32. “Then do not go. Sit by my side here—so. Mother, the lord of this house needs a cushion. Bring it.” There was an almost imperceptible movement on the part of the new life that lay in the hollow of Ameera’s arm. “Aho!” she said, her voice breaking with love. “The babe is a champion from his birth. He is kicking me in the side with mighty kicks. Was there ever such a babe! And he is ours to us—thine[Pg 158] and mine. Put thy hand on his head, but carefully, for he is very young, and men are unskilled in such matters.”
32. "Then don't go. Stay by my side here—like this. Mom, the lord of this house needs a cushion. Bring it." There was a barely noticeable movement from the new life cradled in Ameera's arm. "Oh!" she said, her voice filled with love. "The baby is a champion from the moment he was born. He's kicking me hard in the side. Is there ever been such a baby! And he's ours—yours and mine. Place your hand gently on his head, but be careful because he's very young, and men aren't skilled in these things."
33. Very cautiously Holden touched with the tips of his fingers the downy head.
33. Very carefully, Holden touched the soft head with the tips of his fingers.
34. “He is of the faith,” said Ameera; “for lying here in the night-watches I whispered the Call to Prayer and the Profession of Faith into his ears. And it is most marvellous that he was born upon a Friday, as I was born. Be careful of him, my life; but he can almost grip with his hands.”
34. “He has faith,” said Ameera; “because while lying here during the night, I whispered the Call to Prayer and the Declaration of Faith into his ears. It’s quite amazing that he was born on a Friday, just like I was. Take care of him, my love; but he's almost able to grasp things with his hands.”
35. Holden found one helpless little hand that closed feebly on his finger. And the clutch ran through his body till it settled about his heart. Till then his sole thought had been for Ameera. He began to realise that there was some one else in the world, but he could not feel that it was a veritable son with a soul. He sat down to think, and Ameera dozed lightly.
35. Holden discovered a tiny, helpless hand that weakly grasped his finger. The grip sent a wave of emotion through him until it settled in his heart. Up until that moment, his only concern had been for Ameera. He started to understand that there was someone else in the world, but he couldn’t quite feel that it was a real son with a soul. He sat down to reflect while Ameera napped lightly.
36. “Get hence, sahib,” said her mother under her breath. “It is not good that she should find you here on waking. She must be still.”
36. “Get out of here, sahib,” her mother said quietly. “It’s not good for her to see you here when she wakes up. She needs to be calm.”
37. “I go,” said Holden submissively. “Here be rupees. See that my baba gets fat and finds all that he needs.”
37. “I’ll go,” Holden said obediently. “Here’s some rupees. Make sure my baba gets enough to eat and has everything he needs.”
38. The chink of the silver roused Ameera. “I am his mother, and no hireling,” she said weakly. “Shall I look to him more or less for the[Pg 159] sake of money? Mother, give it back. I have borne my lord a son.”
38. The sound of the silver stirred Ameera. “I’m his mother, not just a servant,” she said faintly. “Should I care for him more or less because of money? Mother, give it back. I have given my lord a son.”
39. The deep sleep of weakness came upon her before the sentence was completed. Holden went down to the courtyard very softly, with his heart at ease. Pir Khan, the old watchman, was chuckling with delight. “This house is now complete,” he said, and without further comment thrust into Holden’s hands the hilt of a sabre worn many years ago when he, Pir Khan, served the Queen in the police. The bleat of a tethered goat came from the well-curb.
39. The heavy sleep of weakness hit her before the sentence was finished. Holden walked down to the courtyard quietly, feeling calm. Pir Khan, the old watchman, was laughing with joy. “This house is now complete,” he said, and without saying more, handed Holden the hilt of a saber he had used years ago when he served the Queen in the police. The bleating of a tied-up goat could be heard from the well's edge.
40. “There be two,” said Pir Khan, “two goats of the best. I bought them, and they cost much money; and since there is no birth-party assembled their flesh will be all mine. Strike craftily, sahib! ’Tis an ill-balanced sabre at the best. Wait till they raise their heads from cropping the marigolds.”
40. “There are two,” said Pir Khan, “two of the finest goats. I bought them, and they cost a lot of money; since there's no celebration happening, their meat will all be mine. Strike carefully, sahib! It’s not the best-balanced saber, anyway. Wait until they lift their heads from eating the marigolds.”
41. “And why?” said Holden, bewildered.
41. "And why?" Holden asked, confused.
42. “For the birth-sacrifice. What else? Otherwise the child being unguarded from fate may die. The Protector of the Poor knows the fitting words to be said.”
42. “For the birth sacrifice. What else? Otherwise, the child, being unprotected from fate, may die. The Protector of the Poor knows the right words to say.”
43. Holden had learned them once with little thought that he would ever speak them in earnest. The touch of the cold sabre-hilt in his palm turned suddenly to the clinging grip of the child up-stairs—the child that was his own son—and a dread of loss filled him.
43. Holden had learned them once without really thinking he would ever say them for real. The feel of the cold saber handle in his hand suddenly shifted to the tight grip of the child upstairs—the child who was his own son—and a fear of losing him overwhelmed him.
[Pg 160]
[Pg 160]
44. “Strike!” said Pir Khan. “Never life came into the world but life was paid for it. See, the goats have raised their heads. Now! With a drawing cut!”
44. “Strike!” said Pir Khan. “Life has always come at a cost. Look, the goats have lifted their heads. Now! Make the cut!”
45. Hardly knowing what he did, Holden cut twice as he muttered the Mohammedan prayer that runs: “Almighty! In place of this my son I offer life for life, blood for blood, head for head, bone for bone, hair for hair, skin for skin.” The waiting horse snorted and bounded in his pickets at the smell of the raw blood that spirted over Holden’s riding-boots.
45. Barely aware of what he was doing, Holden made two cuts while whispering the Muslim prayer that goes: “Almighty! Instead of my son, I offer a life for a life, blood for blood, head for head, bone for bone, hair for hair, skin for skin.” The waiting horse snorted and jolted in its confines at the scent of the fresh blood that sprayed onto Holden’s riding boots.
46. “Well smitten!” said Pir Khan, wiping the sabre. “A swordsman was lost in thee. Go with a light heart, heaven-born. I am thy servant, and the servant of thy son. May the Presence live a thousand years and ... the flesh of the goats is all mine?” Pir Khan drew back richer by a month’s pay. Holden swung himself into the saddle and rode off through the low-hanging wood-smoke of the evening. He was full of riotous exultation, alternating with a vast vague tenderness directed towards no particular object, that made him choke as he bent over the neck of his uneasy horse. “I never felt like this in my life,” he thought. “I’ll go to the club and pull myself together.”
46. “Well done!” said Pir Khan, wiping the sword. “A true swordsman was lost in you. Go with a light heart, noble one. I am your servant, and your son’s servant as well. May you live a thousand years and... is all the goat meat mine?” Pir Khan stepped back, feeling richer by a month’s pay. Holden swung into the saddle and rode off through the evening’s low-hanging wood smoke. He was filled with wild excitement, mixed with a deep, vague tenderness aimed at nothing in particular, that made him choke as he leaned over his restless horse’s neck. “I’ve never felt like this in my life,” he thought. “I’ll go to the club and get myself together.”
47. A game of pool was beginning, and the room was full of men. Holden entered, eager to get to the[Pg 161] light and the company of his fellows, singing at the top of his voice:
47. A game of pool was starting, and the room was packed with guys. Holden walked in, excited to be in the spotlight and with his friends, singing loudly:
“‘In Baltimore a-walking, a lady I did meet!’”
“‘While walking in Baltimore, I met a lady!’”
48. “Did you?” said the club-secretary from his corner. “Did she happen to tell you that your boots were wringing wet? Great goodness, man, it’s blood!”
48. “Did you?” said the club secretary from his corner. “Did she happen to mention that your boots were soaking wet? Good grief, man, it’s blood!”
49. “Bosh!” said Holden, picking his cue from the rack. “May I cut in? It’s dew. I’ve been riding through high crops. My faith, my boots are in a mess, though!”
49. “Nonsense!” said Holden, grabbing his cue from the rack. “Mind if I join in? It’s early morning. I’ve been riding through tall crops. Honestly, my boots are a disaster, though!”
50.
50.
“‘And if it be a girl she shall wear a wedding-ring,
And if it be a boy he shall fight for his king,
With his dirk, and his cap, and his little jacket blue,
He shall walk the quarter-deck—’”
“‘And if it’s a girl, she’ll wear a wedding ring,
And if it’s a boy, he’ll fight for his king,
With his dagger, and his hat, and his little blue jacket,
He’ll walk the quarterdeck—’”
51. “Yellow on blue—green next player,” said the marker monotonously.
51. “Yellow on blue—green next player,” the marker said flatly.
52. “He shall walk the quarter-deck'—Am I green, marker?—He shall walk the quarter-deck'—eh! that's a bad shot—‘As his daddy used to do!’”
52. “He'll walk the quarter-deck—Am I clueless, marker?—He'll walk the quarter-deck—ugh! that's a bad call—‘Just like his dad used to!’”
53. “I don’t see that you have anything to crow about,” said a zealous junior civilian acidly. “The Government is not exactly pleased with your work when you relieved Sanders.”
53. “I don’t think you have anything to brag about,” said an enthusiastic junior official sharply. “The Government isn’t exactly happy with your work when you took over for Sanders.”
54. “Does that mean a wigging from headquarters?” said Holden [Pg 162] with an abstracted smile. “I think I can stand it.”
54. “Does that mean a reprimand from headquarters?” said Holden [Pg 162] with a distant smile. “I think I can handle it.”
55. The talk beat up round the ever-fresh subject of each man’s work, and steadied Holden till it was time to go to his dark empty bungalow, where his butler received him as one who knew all his affairs. Holden remained awake for the greater part of the night, and his dreams were pleasant ones.
55. The conversation circled around the always interesting topic of everyone's work, which helped Holden calm down until it was time to head to his dark, empty bungalow, where his butler greeted him like someone who knew all his business. Holden stayed awake for most of the night, and his dreams were nice.
II
II
56. “How old is he now?”
56. “How old is he now?”
57. “Ya illah! What a man’s question! He is all but six weeks old; and on this night I go up to the housetop with thee, my life, to count the stars. For that is auspicious. And he was born on a Friday under the sign of the Sun, and it has been told to me that he will outlive us both and get wealth. Can we wish for aught better, beloved?”
57. “Oh my God! What a question from a man! He's barely six weeks old; and tonight I'm going up to the rooftop with you, my love, to count the stars. That’s good luck. He was born on a Friday under the sign of the Sun, and I’ve been told that he will outlive us both and gain wealth. Can we wish for anything better, my beloved?”
58. “There is nothing better. Let us go up to the roof, and thou shalt count the stars—but a few only, for the sky is heavy with cloud.”
58. “There's nothing better. Let's go up to the roof, and you can count the stars—but only a few, because the sky is thick with clouds.”
59. “The winter rains are late, and maybe they come out of season. Come, before all the stars are hid. I have put on my richest jewels.”
59. “The winter rains are late, and maybe they’re out of season. Come, before all the stars are hidden. I’ve put on my finest jewels.”
60. “Thou hast forgotten the best of all.”
60. "You've forgotten the best of all."
61. “Ai! Ours. He comes also. He has never yet seen the skies.”
61. “Oh! Ours. He's coming too. He has never seen the sky before.”
62. Ameera climbed the narrow staircase that led to the flat roof.[Pg 163] The child, placid and unwinking, lay in the hollow of her right arm, gorgeous in silver-fringed muslin with a small skull-cap on his head. Ameera wore all that she valued most. The diamond nose-stud that takes the place of the Western patch in drawing attention to the curve of the nostril, the gold ornament in the centre of the forehead studded with tallow-drop emeralds and flawed rubies, the heavy circlet of beaten gold that was fastened round her neck by the softness of the pure metal, and the chinking curb-patterned silver anklets hanging low over the rosy ankle-bone. She was dressed in jade-green muslin as befitted a daughter of the Faith, and from shoulder to elbow and elbow to wrist ran bracelets of silver tied with floss silk, frail glass bangles slipped over the wrist in proof of the slenderness of the hand, and certain heavy gold bracelets that had no part in her country’s ornaments but, since they were Holden’s gift and fastened with a cunning European snap, delighted her immensely.
62. Ameera climbed the narrow staircase that led to the flat roof.[Pg 163] The child, calm and unblinking, lay in the curve of her right arm, beautiful in silver-fringed muslin with a small cap on his head. Ameera wore everything she cherished the most. The diamond nose stud, which highlighted the curve of her nostril like a Western patch, the gold ornament in the middle of her forehead adorned with emeralds and imperfect rubies, the heavy gold necklace that rested softly against her neck, and the jingling silver anklets hanging low over her pink ankle bone. She was dressed in jade-green muslin, fitting for a daughter of the Faith, and from shoulder to elbow and elbow to wrist were silver bracelets tied with fine silk, delicate glass bangles slipped over her wrist showcasing the slenderness of her hand, and certain heavy gold bracelets that weren't part of her country's traditional jewelry but delighted her immensely since they were a gift from Holden and secured with a clever European clasp.
63. They sat down by the low white parapet of the roof, overlooking the city and its lights.
63. They sat down by the low white wall of the roof, looking out over the city and its lights.
64. “They are happy down there,” said Ameera. “But I do not think that they are as happy as we. Nor do I think the white mem-log are as happy. And thou?”
64. “They’re happy down there,” said Ameera. “But I don’t think they’re as happy as we are. Nor do I think the white mem-log are as happy. What about you?”
65. “I know they are not.”
"I know they aren't."
66. “How dost thou know?”
“How do you know?”
[Pg 164]
[Pg 164]
67. “They give their children over to the nurses.”
67. “They hand their kids over to the nurses.”
“I have never seen that,” said Ameera with a sigh, “nor do I wish to see. Ahi!”—she dropped her head on Holden’s shoulder—“I have counted forty stars, and I am tired. Look at the child, love of my life, he is counting too.”
“I've never seen that,” Ameera said with a sigh, “and I don't want to see it. Ahi!”—she dropped her head on Holden’s shoulder—“I’ve counted forty stars, and I’m tired. Look at the child, love of my life, he’s counting too.”
68. The baby was staring with round eyes at the dark of the heavens. Ameera placed him in Holden’s arms, and he lay there without a cry.
68. The baby was wide-eyed, gazing at the dark sky. Ameera handed him to Holden, and he settled there silently.
69. “What shall we call him among ourselves?” she said. “Look! Art thou ever tired of looking? He carries thy very eyes. But the mouth—”
69. “What should we call him when we talk to each other?” she said. “Look! Are you ever tired of looking? He has your very eyes. But the mouth—”
70. “Is thine, most dear. Who should know better than I?”
70. “It’s yours, my dear. Who would know better than I?”
71. “’Tis such a feeble mouth. Oh, so small! And yet it holds my heart between its lips. Give him to me now. He has been too long away.”
71. “It’s such a weak little mouth. Oh, so small! And yet it holds my heart between its lips. Give him to me now. He’s been away for too long.”
72. “Nay, let him lie; he has not yet begun to cry.”
72. “No, let him be; he hasn't started crying yet.”
73. “When he cries thou wilt give him back—eh? What a man of mankind thou art! If he cried he were only the dearer to me. But, my life, what little name shall we give him?”
73. “When he cries, you’ll return him—right? What a man you are! If he cries, it only makes me love him more. But, my dear, what name should we choose for him?”
74. The small body lay close to Holden’s heart. It was utterly helpless and very soft. He scarcely dared to breathe for fear of crushing it. The caged green parrot that is regarded as a sort of guardian spirit in[Pg 165] most native households moved on its perch and fluttered a drowsy wing.
74. The tiny body was nestled close to Holden’s heart. It was completely helpless and incredibly soft. He barely dared to breathe, afraid he might crush it. The caged green parrot, seen as a kind of guardian spirit in[Pg 165] many native homes, shifted on its perch and flapped a sleepy wing.
75. “There is the answer,” said Holden. “Mian Mittu has spoken. He shall be the parrot. When he is ready he will talk mightily and run about. Mian Mittu is the parrot in thy—in the Mussulman tongue, is it not?”
75. “There’s the answer,” said Holden. “Mian Mittu has spoken. He will be the parrot. When he’s ready, he’ll talk a lot and move around. Mian Mittu is the parrot in your—in the Muslim language, right?”
76. “Why put me so far off?” said Ameera fretfully. “Let it be like unto some English name—but not wholly. For he is mine.”
76. “Why put me so far away?” Ameera said, annoyed. “Make it something like an English name—but not completely. Because he belongs to me.”
77. “Then call him Tota, for that is likest English.”
77. “Then call him Tota, because that’s closest to English.”
78. “Ay, Tota, and that is still the parrot. Forgive me, my lord, for a minute ago, but in truth he is too little to wear all the weight of Mian Mittu for name. He shall be Tota—our Tota to us. Hearest thou, O small one? Littlest, thou art Tota.” She touched the child’s cheek, and he waking, wailed, and it was necessary to return him to his mother, who soothed him with the wonderful rhyme of “Aré koko, Jaré koko!” which says:
78. “Yes, Tota, and that’s still the parrot. I’m sorry, my lord, for what I said a moment ago, but honestly, he’s too small to carry the name Mian Mittu. He will be Tota—our Tota. Do you hear me, little one? You are Tota.” She touched the child’s cheek, and when he woke up, he cried, so they had to take him back to his mother, who calmed him with the lovely rhyme of “Aré koko, Jaré koko!” which says:
“Oh, crow! Go crow! Baby’s sleeping sound,
And the wild plums grow in the jungle, only a penny a pound,
Only a penny a pound, baba, only a penny a pound.”
“Oh, crow! Go crow! Baby’s sleeping sound,
And the wild plums grow in the jungle, just a penny a pound,
Just a penny a pound, baba, just a penny a pound.”
79. Reassured many times as to the price of those plums, Tota cuddled himself down to sleep. The two sleek, white well-bullocks in the[Pg 166] courtyard were steadily chewing the cud of their evening meal; old Pir Khan squatted at the head of Holden’s horse, his police sabre across his knees, pulling drowsily at a big water-pipe that croaked like a bull-frog in a pond. Ameera’s mother sat spinning in the lower veranda, and the wooden gate was shut and barred. The music of a marriage-procession came to the roof above the gentle hum of the city, and a string of flying-foxes crossed the face of the low moon.
79. After being reassured several times about the price of those plums, Tota settled down to sleep. The two sleek, white bulls in the courtyard were calmly chewing their evening meal; old Pir Khan sat at the front of Holden’s horse, his police saber resting on his knees, lazily puffing on a large water pipe that croaked like a bullfrog in a pond. Ameera’s mother was spinning on the lower porch, and the wooden gate was closed and locked. The music from a wedding procession drifted up to the roof over the gentle buzz of the city, and a group of flying foxes flew across the face of the low moon.
80. “I have prayed,” said Ameera, after a long pause, “I have prayed for two things. First that I may die in thy stead if thy death is demanded, and in the second that I may die in the place of the child. I have prayed to the Prophet and to Beebee Miriam [the Virgin Mary]. Thinkest thou either will hear?”
80. “I have prayed,” said Ameera, after a long pause, “I have prayed for two things. First, that I may die in your place if your death is demanded, and second, that I may die in place of the child. I have prayed to the Prophet and to Beebee Miriam [the Virgin Mary]. Do you think either will hear?”
81. “From thy lips who would not hear the lightest word?”
81. “Who wouldn’t want to hear even the slightest word from your lips?”
82. “I asked for straight talk, and thou hast given me sweet talk. Will my prayers be heard?”
82. “I asked for honest conversation, and you gave me flattering words. Will my prayers be heard?”
83. “How can I say? God is very good.”
83. “What can I say? God is really good.”
84. “Of that I am not sure. Listen now. When I die, or the child dies, what is thy fate? Living, thou wilt return to the bold white mem-log, for kind calls to kind.”
84. “I’m not sure about that. Listen now. When I die, or when the child dies, what happens to you? If you’re alive, you will go back to the bold white mem-log, because like attracts like.”
85. “Not always.”
"Not always."
86. “With a woman, no; with a man it is otherwise. Thou wilt in this life, later on, go back to thine[Pg 167] own folk. That I could almost endure for I should be dead. But in thy very death thou wilt be taken away to a strange place and a paradise that I do not know.”
86. “With a woman, no; with a man it's different. You will, in this life, eventually return to your own people. I could almost accept that since I would be dead. But in your very death, you will be taken to an unfamiliar place and a paradise that I don't know.”
87. “Will it be paradise?”
“Will it be heaven?”
88. “Surely, for who would harm thee? But we two—I and the child—shall be elsewhere, and we cannot come to thee, nor canst thou come to us. In the old days, before the child was born, I did not think of these things; but now I think of them always. It is very hard talk.”
88. “Surely, who would hurt you? But we two—I and the child—will be somewhere else, and we can’t come to you, nor can you come to us. In the old days, before the child was born, I didn’t think about these things; but now I think about them all the time. It's really tough to talk about.”
89. “It will fall as it will fall. To-morrow we do not know, but to-day and love we know well. Surely we are happy now.”
89. "It will happen as it happens. Tomorrow is uncertain, but today and love are clear to us. We are definitely happy right now."
90. “So happy that it were well to make our happiness assured. And thy Beebee Miriam should listen to me; for she is also a woman. But then she would envy me! It is not seemly for men to worship a woman.”
90. “I’m so happy that it would be good to ensure our happiness. And your Beebee Miriam should listen to me; after all, she’s a woman too. But then she might envy me! It’s not appropriate for men to idolize a woman.”
91. Holden laughed aloud at Ameera’s little spasm of jealousy.
91. Holden burst out laughing at Ameera’s little moment of jealousy.
92. “Is it not seemly? Why didst thou not turn me from worship of thee, then?”
92. “Is it not appropriate? Why didn’t you stop me from worshiping you, then?”
93. “Thou a worshipper! And of me? My king, for all thy sweet words, well I know that I am thy servant and thy slave, and the dust under thy feet. And I would not have it otherwise. See!”
93. “You're a worshipper! Of me? My king, for all your sweet words, I know that I am your servant and your slave, and the dust beneath your feet. And I wouldn’t have it any other way. Look!”
94. Before Holden could prevent her she stooped and touched his feet; recovering herself with a little laugh she hugged Tota close to[Pg 168] her bosom. Then, almost savagely:
94. Before Holden could stop her, she bent down and touched his feet; then, gathering herself with a small laugh, she hugged Tota tightly to her chest. Then, almost fiercely:
95. “Is it true that the bold white mem-log live for three times the length of my life? Is it true that they make their marriages not before they are old women?”
95. “Is it true that the bold white mem-log live for three times the length of my life? Is it true that they wait to get married until they’re old women?”
96. “They marry as do others—when they are women.”
96. “They get married just like everyone else—when they’re women.”
97. “That I know, but they wed when they are twenty-five. Is that true?”
97. “I know that, but they get married when they're twenty-five. Is that true?”
98. “That is true.”
"That's true."
99. “Ya illah! At twenty-five! Who would of his own will take a wife even of eighteen? She is a woman—aging every hour. Twenty-five! I shall be an old woman at that age, and—those mem-log remain young forever. How I hate them!”
99. “Oh my God! At twenty-five! Who in their right mind would choose to marry someone even at eighteen? She’s a woman—getting older every hour. Twenty-five! I’ll be an old woman at that age, and—those mem-log stay young forever. I can’t stand them!”
100. “What have they to do with us?”
100. “What do they have to do with us?”
101. “I cannot tell. I know only that there may now be alive on this earth a woman ten years older than I who may come to thee and take thy love ten years after I am an old woman, gray-headed, and the nurse of Tota’s son. That is unjust and evil. They should die too.”
101. “I can’t say. I only know that there might be a woman out there who’s ten years older than me, who will come to you and take your love ten years after I’m an old woman with gray hair, taking care of Tota’s son. That’s unfair and wrong. They should face consequences too.”
102. “Now, for all thy years thou art a child, and shalt be picked up and carried down the staircase.”
102. “Now, even with all your years, you are still a child, and you will be picked up and carried down the stairs.”
103. “Tota! Have a care for Tota, my lord! Thou at least art as foolish as any babe!” Ameera tucked Tota out of harm’s way in the hollow of her neck, and was carried[Pg 169] downstairs laughing in Holden’s arms, while Tota opened his eyes and smiled after the manner of the lesser angels.
103. “Tota! Be careful with Tota, my lord! You’re just as foolish as any baby!” Ameera tucked Tota safely in the crook of her neck and was carried[Pg 169] downstairs, laughing in Holden’s arms, while Tota opened his eyes and smiled like the lesser angels.
104. He was a silent infant, and almost before Holden could realise that he was in the world, developed into a small gold-coloured little god and unquestioned despot of the house overlooking the city. Those were months of absolute happiness to Holden and Ameera—happiness withdrawn from the world, shut in behind the wooden gate that Pir Khan guarded. By day Holden did his work with an immense pity for such as were not so fortunate as himself, and a sympathy for small children that amazed and amused many mothers at the little station gatherings. At nightfall he returned to Ameera—Ameera, full of the wondrous doings of Tota; how he had been seen to clap his hands together and move his fingers with intention and purpose—which was manifestly a miracle; how, later, he had of his own initiative crawled out of his low bedstead on to the floor and swayed on both feet for the space of three breaths.
104. He was a quiet baby, and almost before Holden realized he was in the world, he transformed into a small golden little god and the unquestioned ruler of the house overlooking the city. Those were months of pure happiness for Holden and Ameera—happiness isolated from the world, locked behind the wooden gate that Pir Khan guarded. During the day, Holden did his work, feeling immense pity for those who weren't as lucky as him, and a softer spot for small children that amazed and entertained many mothers at the little station gatherings. At nightfall, he returned to Ameera—Ameera, full of the incredible things Tota had done; how he had been seen clapping his hands together and moving his fingers with intention and purpose—which was clearly a miracle; how, later, he had crawled out of his low bed on his own and stood swaying on both feet for the length of three breaths.
105. “And they were long breaths, for my heart stood still with delight,” said Ameera.
105. “And they were long breaths, for my heart stood still with delight,” said Ameera.
106. Then Tota took the beasts into his councils—the well-bullocks, the little gray squirrels, the mongoose that lived in a hole near the well, and especially Mian Mittu, the parrot,[Pg 170] whose tail he grievously pulled, and Mian Mittu screamed till Ameera and Holden arrived.
106. Then Tota gathered the animals for a meeting—the strong bulls, the small gray squirrels, the mongoose that lived near the well, and especially Mian Mittu, the parrot,[Pg 170] whose tail he harshly yanked, causing Mian Mittu to scream until Ameera and Holden showed up.
107. “O villain! Child of strength! This to thy brother on the housetop! Tobah, tobah! Fie! Fie! But I know a charm to make him wise as Suleiman and Aflatoun [Solomon and Plato]. Now look,” said Ameera. She drew from an embroidered bag a handful of almonds. “See! we count seven. In the name of God!”
107. “You villain! Strong child! This to your brother on the rooftop! Tobah, tobah! Shame! Shame! But I know a trick to make him as wise as Solomon and Plato. Now look,” said Ameera. She pulled a handful of almonds from an embroidered bag. “See! we count seven. In the name of God!”
108. She placed Mian Mittu, very angry and rumpled, on the top of his cage, and seating herself between the babe and the bird she cracked and peeled an almond less white than her teeth. “This is a true charm, my life, and do not laugh. See! I give the parrot one half and Tota the other.” Mian Mittu with careful beak took his share from between Ameera’s lips, and she kissed the other half into the mouth of the child, who ate it slowly with wondering eyes. “This I will do each day of seven, and without doubt he who is ours will be a bold speaker and wise. Eh, Tota, what wilt thou be when thou art a man and I am gray-headed?” Tota tucked his fat legs into adorable creases. He could crawl, but he was not going to waste the spring of his youth in idle speech. He wanted Mian Mittu’s tail to tweak.
108. She put Mian Mittu, very upset and messy, on top of his cage and sat down between the baby and the bird. She cracked and peeled an almond that was less white than her teeth. “This is a real charm, my dear, and don’t laugh. Look! I’m giving one half to the parrot and the other half to Tota.” Mian Mittu carefully took his share from between Ameera’s lips, and she kissed the other half into the mouth of the child, who ate it slowly with curious eyes. “I will do this for seven days, and without a doubt, he who belongs to us will be a bold speaker and wise. Hey, Tota, what do you want to be when you grow up and I’m gray-haired?” Tota tucked his chubby legs into adorable folds. He could crawl, but he wasn’t going to waste his youthful energy on pointless talk. He wanted to pull Mian Mittu’s tail.
109. When he was advanced to the dignity of a silver belt—which, with a magic square engraved on silver[Pg 171] and hung round his neck, made up the greater part of his clothing—he staggered on a perilous journey down the garden to Pir Khan and proffered him all his jewels in exchange for one little ride on Holden’s horse, having seen his mother’s mother chaffering with peddlers in the veranda. Pir Khan wept and set the untried feet on his own gray head in sign of fealty, and brought the bold adventurer to his mother’s arms, vowing that Tota would be a leader of men ere his beard was grown.
109. When he was honored with a silver belt—which, along with a magic square engraved on silver[Pg 171] and worn around his neck, made up most of his outfit—he set off on a risky journey through the garden to Pir Khan and offered all his jewels in exchange for a short ride on Holden’s horse, having seen his grandmother bargaining with peddlers on the porch. Pir Khan cried and placed the inexperienced boy’s feet on his own gray head as a sign of loyalty, then took the brave adventurer back to his mother, promising that Tota would be a leader of men before his beard grew.
110. One hot evening, while he sat on the roof between his father and mother watching the never-ending warfare of the kites that the city boys flew, he demanded a kite of his own with Pir Khan to fly it, because he had a fear of dealing with anything larger than himself, and when Holden called him a “spark” he rose to his feet and answered slowly in defence of his new-found individuality: “Hum 'park nahin hai. Hum admi hai [I am no spark, but a man].”
110. One hot evening, while he sat on the roof between his dad and mom watching the endless battles of the kites that the city boys flew, he asked for a kite of his own to fly with Pir Khan, because he was afraid of handling anything bigger than himself. When Holden called him a “spark,” he stood up and replied slowly to defend his new sense of individuality: “Hum 'park nahin hai. Hum admi hai [I am no spark, but a man].”
111. The protest made Holden choke and devote himself very seriously to a consideration of Tota’s future. He need hardly have taken the trouble. The delight of that life was too perfect to endure. Therefore it was taken away as many things are taken away in India—suddenly and without warning. The little lord of the house, as Pir Khan called him, grew sorrowful and complained[Pg 172] of pains who had never known the meaning of pain. Ameera, wild with terror, watched him through the night, and in the dawning of the second day the life was shaken out of him by fever—the seasonal autumn fever. It seemed altogether impossible that he could die, and neither Ameera nor Holden at first believed the evidence of the little body on the bedstead. Then Ameera beat her head against the wall and would have flung herself down the well in the garden had Holden not restrained her by main force.
111. The protest made Holden choke and focus seriously on Tota’s future. He hardly needed to worry. The joy of that life was too perfect to last. So, it was taken away like so many things in India—suddenly and without warning. The little lord of the house, as Pir Khan called him, became sad and complained of pains he had never experienced before. Ameera, frantic with fear, watched over him through the night, and by dawn of the second day, fever—the seasonal autumn fever—wiped the life out of him. It seemed totally impossible that he could die, and neither Ameera nor Holden initially accepted the reality of the little body on the bed. Then Ameera slammed her head against the wall and would have thrown herself down the well in the garden if Holden hadn’t physically stopped her.
112. One mercy only was granted to Holden. He rode to his office in broad daylight and found waiting him an unusually heavy mail that demanded concentrated attention and hard work. He was not, however, alive to this kindness of the gods.
112. Holden received just one mercy. He rode to his office in the bright daylight and found an unusually heavy stack of mail waiting for him that required his full attention and hard work. However, he didn’t appreciate this kindness from the universe.
III
III
113. The first shock of a bullet is no more than a brisk pinch. The wrecked body does not send in its protest to the soul till ten or fifteen seconds later. Holden realised his pain slowly, exactly as he had realised his happiness, and with the same imperious necessity for hiding all traces of it. In the beginning he only felt that there had been a loss, and that Ameera needed comforting where she sat with her head on her knees shivering as Mian Mittu from[Pg 173] the housetop called: Tota! Tota! Tota! Later, all his world and the daily life of it rose up to hurt him. It was an outrage that any one of the children at the band-stand in the evening should be alive and clamorous, when his own child lay dead. It was more than mere pain when one of them touched him, and stories told by over-fond fathers of their children’s latest performances cut him to the quick. He could not declare his pain. He had neither help, comfort, nor sympathy; and Ameera at the end of each weary day would lead him through the hell of self-questioning reproach which is reserved for those who have lost a child, and believe that with a little—just a little—more care it might have been saved.
113. The first jolt of a bullet feels like a quick pinch. The damaged body doesn’t send a signal to the soul until ten or fifteen seconds later. Holden slowly became aware of his pain, just as he had slowly recognized his happiness, both requiring him to hide any signs of it. At first, he only sensed a loss and felt that Ameera needed comfort while she sat with her head on her knees, shivering as Mian Mittu from the rooftop called: Tota! Tota! Tota! Later, everything from his world and his daily life rose up to hurt him. It seemed outrageous that any of the kids at the bandstand in the evening should be alive and noisy while his own child lay dead. It was more than just pain when one of them touched him, and stories shared by overly proud fathers about their children’s latest achievements cut him deeply. He couldn’t express his pain. He had no help, comfort, or sympathy; and Ameera, at the end of each exhausting day, would lead him through the torment of self-doubt and blame reserved for those who have lost a child, believing that with just a little—only a little—more care, it could have been prevented.
114. “Perhaps,” Ameera would say, “I did not take sufficient heed. Did I, or did I not? The sun on the roof that day when he played so long alone and I was—ahi! braiding my hair—it may be that the sun then bred the fever. If I had warned him from the sun he might have lived. But oh, my life, say that I am guiltless! Thou knowest that I loved him as I love thee. Say that there is no blame on me, or I shall die—I shall die!”
114. “Maybe,” Ameera would say, “I didn’t pay enough attention. Did I, or didn’t I? The sun on the roof that day when he played alone for so long and I was—ugh! braiding my hair—it could be that the sun caused the fever. If I had warned him about the sun, he might have lived. But oh, my love, say that I am innocent! You know that I loved him as I love you. Say that I’m not to blame, or I’ll die—I’ll die!”
115. “There is no blame—before God, none. It was written, and how could we do aught to save? What has been, has been. Let it go, beloved.”
115. “There’s no blame—before God, none. It was meant to be, and how could we change anything to save it? What’s done is done. Let it go, my love.”
116. “He was all my heart to me.[Pg 174] How can I let the thought go when my arm tells me every night that he is not here? Ahi! Ahi! O Tota, come back to me—come back again, and let us be all together as it was before!”
116. “He meant everything to me.[Pg 174] How can I stop thinking about him when my heart reminds me every night that he is gone? Oh! Oh! O Tota, please come back to me—come back, and let us be together again like we were before!”
117. “Peace, peace! For thine own sake, and for mine also, if thou lovest me—rest.”
117. “Peace, peace! For your sake, and for mine too, if you love me—calm down.”
118. “By this I know thou dost not care; and how shouldst thou? The white men have hearts of stone and souls of iron. Oh, that I had married a man of mine own people—though he beat me—and had never eaten the bread of an alien!”
118. “This shows me that you don't care; and why should you? The white men have hearts of stone and souls of iron. Oh, how I wish I had married a man from my own people—even if he beat me—and never had to eat the bread of a stranger!”
119. “Am I an alien—mother of my son?”
119. “Am I an outsider—mother of my son?”
120. “What else—sahib?... Oh, forgive me—forgive! The death has driven me mad. Thou art the life of my heart, and the light of my eyes, and the breath of my life, and—and I have put thee from me, though it was but for a moment. If thou goest away, to whom shall I look for help? Do not be angry. Indeed, it was the pain that spoke and not thy slave.”
120. “What else—sir?... Oh, forgive me—please forgive! The death has driven me crazy. You are the life of my heart, the light of my eyes, and the breath of my life, and—and I have pushed you away, even if just for a moment. If you leave, who will I turn to for help? Don’t be angry. Honestly, it was the pain that spoke and not your servant.”
121. “I know, I know. We be two who were three. The greater need therefore that we should be one.”
121. “I know, I know. We used to be three. So, it’s even more important that we become one.”
122. They were sitting on the roof as of custom. The night was a warm one in early spring, and sheet-lightning was dancing on the horizon to a broken tune played by far-off[Pg 175] thunder. Ameera settled herself in Holden’s arms.
122. They were sitting on the roof like usual. The night was warm for early spring, and sheet lightning flickered on the horizon to a distant tune played by far-off thunder. Ameera snuggled into Holden’s arms.
123. “The dry earth is lowing like a cow for the rain, and I—I am afraid. It was not like this when we counted the stars. But thou lovest me as much as before, though a bond is taken away? Answer!”
123. “The dry ground is crying out for rain like a cow, and I—I’m scared. It wasn’t like this when we counted the stars. But you love me just as much as before, even though a connection is missing? Answer!”
124. “I love more because a new bond has come out of the sorrow that we have eaten together, and that thou knowest.”
124. “I love more because a new bond has formed from the sorrow we've shared together, and you know that.”
125. “Yea, I knew,” said Ameera in a very small whisper. “But it is good to hear thee say so, my life, who art so strong to help. I will be a child no more but a woman and an aid to thee. Listen! Give me my sitar and I will sing bravely.”
125. “Yeah, I knew,” Ameera said in a very quiet voice. “But it’s good to hear you say that, my love, you who are so strong and helpful. I won't be a child anymore but a woman and a support to you. Listen! Give me my sitar and I will sing boldly.”
126. She took the light silver-studded sitar and began a song of the great hero Rajah Rasalu. The hand failed on the strings, the tune halted, checked, and at a low note turned off to the poor little nursery-rhyme about the wicked crow:
126. She picked up the lightly adorned silver-studded sitar and started singing a song about the great hero Rajah Rasalu. Her hand stumbled on the strings, the melody stopped abruptly, and at a low note shifted to the simple nursery rhyme about the evil crow:
“‘And the wild plums grow in the jungle, only a penny a pound,
Only a penny a pound, baba—only....’”
“‘And the wild plums grow in the jungle, just a penny a pound,
Just a penny a pound, baba—just....’”
127. Then came the tears and the piteous rebellion against fate till she slept, moaning a little in her sleep, with the right arm thrown clear of the body as though it protected something that was not there. It was after this night that life became a little easier for Holden. The ever-present[Pg 176] pain of loss drove him into his work, and the work repaid him by filling up his mind for nine or ten hours a day. Ameera sat alone in the house and brooded, but grew happier when she understood that Holden was more at ease, according to the custom of women. They touched happiness again, but this time with caution.
127. Then the tears came and the heartbreaking struggle against fate continued until she fell asleep, moaning a little in her sleep, with her right arm thrown away from her body as if it were guarding something that wasn’t there. It was after this night that life got a bit easier for Holden. The constant pain of loss pushed him into his work, and the work rewarded him by occupying his mind for nine or ten hours a day. Ameera sat alone in the house, lost in thought, but felt happier when she realized that Holden was more at ease, as women often do. They touched happiness again, but this time with caution.
128. “It was because we loved Tota that he died. The jealousy of God was upon us,” said Ameera. “I have hung up a large black jar before our window to turn the evil eye from us, and we must make no protestations of delight, but go softly underneath the stars, lest God find us out. Is that not good talk, worthless one?”
128. “It was because we loved Tota that he died. God’s jealousy was on us,” Ameera said. “I’ve hung a large black jar in front of our window to ward off the evil eye, and we shouldn’t show any signs of joy, but walk quietly under the stars, or God might catch us. Isn’t that wise advice, you worthless one?”
129. She had shifted the accent on the word that means “beloved,” in proof of the sincerity of her purpose. But the kiss that followed the new christening was a thing that any deity might have envied. They went about henceforward saying: “It is naught, it is naught”; and hoping that all the Powers heard.
129. She had changed the emphasis on the word that means “beloved,” to show how genuine her intentions were. But the kiss that came after this new naming was something any god would have envied. From then on, they went around saying: “It doesn’t matter, it doesn’t matter”; hoping that all the Powers were listening.
130. The Powers were busy on other things. They had allowed thirty million people four years of plenty wherein men fed well and the crops were certain, and the birth-rate rose year by year; the districts reported a purely agricultural population varying from nine hundred to two thousand to the square mile of the overburdened earth; and the[Pg 177] Member for Lower Tooting, wandering about India in pot-hat and frock-coat, talked largely of the benefits of British rule and suggested as the one thing needful the establishment of a duly qualified electoral system and a general bestowal of the franchise. His long-suffering hosts smiled and made him welcome, and when he paused to admire, with pretty picked words, the blossom of the blood-red dhak-tree that had flowered untimely for a sign of what was coming, they smiled more than ever.
130. The Powers were preoccupied with other matters. They had given thirty million people four years of abundance, where people ate well, crops were reliable, and the birth rate grew each year; the regions reported a purely agricultural population ranging from nine hundred to two thousand people per square mile on the overworked land; and the[Pg 177] Member for Lower Tooting, strolling around India in his top hat and frock coat, spoke grandly about the benefits of British rule and suggested that what was really needed was the creation of a proper electoral system and a general granting of voting rights. His endlessly patient hosts smiled and welcomed him, and when he took a moment to praise, with carefully chosen words, the bloom of the blood-red dhak tree that had blossomed out of season as a sign of what was to come, they smiled even more.
131. It was the Deputy Commissioner of Kot-Kumharsen, staying at the club for a day, who lightly told a tale that made Holden’s blood run cold as he overheard the end.
131. It was the Deputy Commissioner of Kot-Kumharsen, staying at the club for a day, who casually shared a story that sent chills down Holden's spine as he caught the end of it.
132. “He won’t bother any one any more. Never saw a man so astonished in my life. By Jove, I thought he meant to ask a question in the House about it. Fellow passenger in his ship—dined next him—bowled over by cholera and died in eighteen hours. You needn’t laugh, you fellows. The Member for Lower Tooting is awfully angry about it; but he’s more scared. I think he’s going to take his enlightened self out of India.”
132. “He won’t be bothering anyone anymore. I’ve never seen a man so shocked in my life. Honestly, I thought he was going to ask a question about it in the House. A fellow passenger on his ship—had dinner next to him—was taken down by cholera and died in eighteen hours. You shouldn’t laugh, guys. The Member for Lower Tooting is really angry about it; but he’s even more terrified. I think he’s going to take his enlightened self out of India.”
133. “I’d give a good deal if he were knocked over. It might keep a few vestrymen of his kidney to their own parish. But what’s this about cholera? It’s full early for anything of that kind,” said the warden of an unprofitable salt-lick.
133. “I’d pay a lot if he got taken out. It might keep a few people like him focused on their own parish. But what’s this about cholera? It’s way too early for anything like that,” said the warden of a useless salt-lick.
[Pg 178]
[Pg 178]
134. “Don’t know,” said the Deputy Commissioner reflectively. “We’ve got locusts with us. There’s sporadic cholera all along the north—at least we’re calling it sporadic for decency’s sake. The spring crops are short in five districts, and nobody seems to know where the rains are. It’s nearly March now. I don’t want to scare anybody, but it seems to me that Nature’s going to audit her accounts with a big red pencil this summer.”
134. “I’m not sure,” said the Deputy Commissioner, thinking it over. “We’ve got locusts invading. There's some cholera popping up in the north—at least we’re calling it sporadic to be polite. The spring crops are lacking in five districts, and no one seems to know where the rain is. It’s almost March now. I don’t want to alarm anyone, but it feels like Nature is going to take a hard look at her accounts with a big red pencil this summer.”
135. “Just when I wanted to take leave, too!” said a voice across the room.
135. “Right when I was about to leave, too!” a voice shouted from across the room.
136. “There won’t be much leave this year, but there ought to be a great deal of promotion. I’ve come in to persuade the Government to put my pet canal on the list of famine-relief works. It’s an ill wind that blows no good. I shall get that canal finished at last.”
136. “There won’t be much time off this year, but there should be a lot of promotions. I’ve come in to convince the government to include my favorite canal on the list of famine-relief projects. Every cloud has a silver lining. I will finally get that canal done.”
137. “Is it the old programme then,” said Holden; “famine, fever, and cholera?”
137. “So, is it the same old routine,” said Holden; “hunger, sickness, and cholera?”
138. “Oh, no. Only local scarcity and an unusual prevalence of seasonal sickness. You’ll find it all in the reports if you live till next year. You’re a lucky chap. You haven’t got a wife to send out of harm’s way. The hill stations ought to be full of women this year.”
138. “Oh, no. It's just local shortages and an unusual spike in seasonal illnesses. You’ll see it all in the reports if you make it to next year. You’re a lucky guy. You don’t have a wife to send to safety. The hill stations should be packed with women this year.”
139. “I think you’re inclined to exaggerate the talk in the bazars,” said a young civilian in the secretariat. “Now I have observed—”
139. “I think you tend to exaggerate the chatter in the bazars,” said a young civilian in the secretariat. “Now I’ve noticed—”
[Pg 179]
[Pg 179]
140. “I daresay you have,” said the Deputy Commissioner, “but you’ve a great deal more to observe, my son. In the meantime, I wish to observe to you—” and he drew him aside to discuss the construction of the canal that was so dear to his heart. Holden went to his bungalow and began to understand that he was not alone in the world, and also that he was afraid for the sake of another—which is the most soul-satisfying fear known to man.
140. “I bet you have,” said the Deputy Commissioner, “but there’s a lot more for you to notice, my son. In the meantime, I want to point out to you—” and he pulled him aside to talk about the canal that meant so much to him. Holden went to his bungalow and started to realize that he wasn’t alone in the world, and also that he felt fear for someone else—which is the most fulfilling fear known to man.
141. Two months later, as the Deputy had foretold, Nature began to audit her accounts with a red pencil. On the heels of the spring reapings came a cry for bread, and the Government, which had decreed that no man should die of want, sent wheat. Then came the cholera from all four quarters of the compass. It struck a pilgrim-gathering of half a million at a sacred shrine. Many died at the feet of their god; the others broke and ran over the face of the land carrying the pestilence with them. It smote a walled city and killed two hundred a day. The people crowded the trains, hanging on to the foot-boards and squatting on the roofs of the carriages, and the cholera followed them, for at each station they dragged out the dead and the dying. They died by the roadside, and the horses of the Englishmen shied at the corpses in the grass. The rains did not come, and the earth turned to iron lest man[Pg 180] should escape death by hiding in her. The English sent their wives away to the hills and went about their work, coming forward as they were bidden to fill the gaps in the fighting-line. Holden, sick with fear of losing his chiefest treasure on earth, had done his best to persuade Ameera to go away with her mother to the Himalayas.
141. Two months later, just as the Deputy had predicted, Nature started to settle the score. After the spring harvest, there was a demand for bread, and the Government, which had promised that no one would starve, sent wheat. Then cholera appeared from every direction. It struck a gathering of half a million pilgrims at a sacred site. Many died at the feet of their deity; the others panicked and spread the disease across the land. It hit a walled city and claimed two hundred lives each day. People crowded onto the trains, clinging to the footboards and sitting on the roofs of the carriages, and cholera followed them, as they dragged out the dead and dying at each station. They perished by the roadside, and the horses of the English shied away from the bodies in the grass. The rains didn’t come, and the earth became hard as iron, preventing anyone from escaping death by hiding underground. The English sent their wives to the hills and continued with their work, stepping forward as needed to fill the ranks in the fighting line. Holden, terrified of losing what he treasured most, had tried his best to convince Ameera to leave with her mother for the Himalayas.
142. “Why should I go?” said she one evening on the roof.
142. “Why should I go?” she said one evening on the roof.
143. “There is sickness, and people are dying, and all the white mem-log have gone.”
143. “There’s illness, and people are dying, and all the white mem-log have disappeared.”
144. “All of them?”
“All of them?”
145. “All—unless perhaps there remain some old scald-head who vexes her husband’s heart by running risk of death.”
145. “Everyone—unless maybe there’s an old sorehead who annoys her husband by flirting with danger.”
146. “Nay; who stays is my sister, and thou must not abuse her, for I will be a scald-head too. I am glad all the bold mem-log are gone.”
146. “No; the one who stays is my sister, and you must not mistreat her, or I'll be just as angry. I'm glad all the brave mem-log are gone.”
147. “Do I speak to a woman, or a babe? Go to the hills and I will see to it that thou goest like a queen’s daughter. Think, child. In a red-lacquered bullock-cart, veiled and curtained, with brass peacocks upon the pole and red cloth hangings. I will send two orderlies for guard, and—”
147. “Am I talking to a woman, or a girl? Go to the hills, and I’ll make sure you travel like a queen’s daughter. Just imagine, child. In a red-lacquered bullock cart, veiled and curtained, with brass peacocks on the pole and red cloth drapes. I’ll send two orderlies to guard you, and—”
148. “Peace! Thou art the babe in speaking thus. What use are those toys to me? He would have patted the bullocks and played with the housings. For his sake, perhaps—thou hast made me very English—I[Pg 181] might have gone. Now, I will not. Let the mem-log run.”
148. “Peace! You sound like a child saying that. What good are those toys to me? He would have petted the cattle and played with the harnesses. Maybe for his sake—you’ve made me very English—I might have gone. Now, I won’t. Let the mem-log run.”
149. “Their husbands are sending them, beloved.”
149. “Their husbands are sending them, my dear.”
150. “Very good talk. Since when hast thou been my husband to tell me what to do? I have but borne thee a son. Thou art only all the desire of my soul to me. How shall I depart when I know that if evil befall thee by the breadth of so much as my littlest finger-nail—is that not small?—I should be aware of it though I were in paradise. And here, this summer thou mayest die—ai, janee, die! and in dying they might call to tend thee a white woman, and she would rob me in the last of thy love!”
150. “Great talk. Since when have you been my husband to tell me what to do? I’ve only given you a son. You are the greatest desire of my soul. How can I leave when I know that if anything bad happens to you, even by the tiniest bit of my fingernail—does that seem small?—I would still know about it even if I were in paradise. And here, this summer you might die—oh, my dear, die! And if you die, they might call in a white woman to care for you, and she would take the last of your love away from me!”
151. “But love is not born in a moment or on a death-bed!”
151. “But love isn’t created in an instant or on a deathbed!”
152. “What dost thou know of love, stone-heart? She would take thy thanks at least and, by God and the Prophet and Beebee Miriam the mother of thy Prophet, that I will never endure. My lord and my love, let there be no more foolish talk of going away. Where thou art, I am. It is enough.” She put an arm round his neck and a hand on his mouth.
152. “What do you know about love, cold-hearted? She would at least accept your thanks, and I swear by God, the Prophet, and Beebee Miriam, the mother of your Prophet, that I will never stand for it. My lord and my love, let's stop this foolish talk about leaving. Wherever you are, I am. That's enough.” She wrapped her arm around his neck and put her hand over his mouth.
153. There are not many happinesses so complete as those that are snatched under the shadow of the sword. They sat together and laughed, calling each other openly by every pet name that could move the wrath of the gods. The city below[Pg 182] them was locked up in its own torments. Sulphur fires blazed in the streets; the conches in the Hindu temples screamed and bellowed, for the gods were inattentive in those days. There was a service in the great Mohammedan shrine, and the call to prayer from the minarets was almost unceasing. They heard the wailing in the houses of the dead, and once the shriek of a mother who had lost a child and was calling for its return. In the gray dawn they saw the dead borne out through the city gates, each litter with its own little knot of mourners. Wherefore they kissed each other and shivered.
153. There aren't many moments of happiness as complete as those that come unexpectedly in dangerous times. They sat together and laughed, playfully calling each other every nickname that might anger the gods. The city below[Pg 182] was trapped in its own suffering. Sulphur fires burned in the streets; the conches in the Hindu temples wailed and roared, as the gods were indifferent during those times. There was a service at the major Mohammedan shrine, and the call to prayer from the minarets was nearly nonstop. They heard the cries from the homes of the grieving, and once the agonizing scream of a mother who had lost her child, pleading for its return. In the gray dawn, they saw the dead being carried out through the city gates, each stretcher accompanied by its own small group of mourners. That's why they kissed each other and felt a chill.
154. It was a red and heavy audit, for the land was very sick and needed a little breathing space ere the torrent of cheap life should flood it anew. The children of immature fathers and undeveloped mothers made no resistance. They were cowed and sat still, waiting till the sword should be sheathed in November if it were so willed. There were gaps among the English, but the gaps were filled. The work of superintending famine-relief, cholera-sheds, medicine-distribution, and what little sanitation was possible, went forward because it was so ordered.
154. It was a tough and intense audit, because the land was really struggling and needed a break before a flood of cheap life took over again. The kids of unready fathers and young mothers didn’t put up any fight. They were intimidated and sat quietly, waiting for the sword to be put away in November if that was the plan. There were holes among the English, but those holes were filled. The work of overseeing famine relief, cholera centers, distributing medicine, and whatever sanitation could be managed continued because that was how it was set to be.
155. Holden had been told to keep himself in readiness to move to replace the next man who should fall. There were twelve hours in each day[Pg 183] when he could not see Ameera, and she might die in three. He was considering what his pain would be if he could not see her for three months, or if she died out of his sight. He was absolutely certain that her death would be demanded—so certain that when he looked up from the telegram and saw Pir Khan breathless in the doorway, he laughed aloud. “And?” said he—
155. Holden had been told to be ready to step in for the next person who fell. There were twelve hours each day when he couldn’t see Ameera, and she might die in three. He was thinking about how painful it would be if he couldn’t see her for three months, or if she died without him. He was completely convinced that her death was inevitable—so sure that when he looked up from the telegram and saw Pir Khan breathless in the doorway, he burst out laughing. “And?” he said—
156. “When there is a cry in the night and the spirit flutters into the throat, who has a charm that will restore? Come swiftly, heaven-born! It is the black cholera.”
156. “When there’s a scream in the night and panic rises, who has a spell that can bring us back? Come quickly, heavenly one! It’s the black cholera.”
157. Holden galloped to his home. The sky was heavy with clouds, for the long-deferred rains were near and the heat was stifling. Ameera’s mother met him in the courtyard, whimpering: “She is dying. She is nursing herself into death. She is all but dead. What shall I do, sahib?”
157. Holden rode quickly to his home. The sky was dark with clouds since the long-awaited rain was about to come, and the heat was unbearable. Ameera’s mother met him in the courtyard, crying, “She is dying. She is nursing herself to death. She is almost gone. What should I do, sahib?”
158. Ameera was lying in the room in which Tota had been born. She made no sign when Holden entered, because the human soul is a very lonely thing and, when it is getting ready to go away, hides itself in a misty border-land where the living may not follow. The black cholera does its work quietly and without explanation. Ameera was being thrust out of life as though the Angel of Death had himself put his hand upon her. The quick breathing seemed to show that she was either[Pg 184] afraid or in pain, but neither eyes nor mouth gave any answer to Holden’s kisses. There was nothing to be said or done. Holden could only wait and suffer. The first drops of the rain began to fall on the roof, and he could hear shouts of joy in the parched city.
158. Ameera was lying in the room where Tota had been born. She didn’t acknowledge Holden’s entrance because the human soul is a very lonely thing, and when it’s preparing to leave, it retreats into a misty borderland where the living can’t follow. The black cholera does its work quietly and without explanation. Ameera was being pushed out of life as if the Angel of Death had placed his hand on her. Her quick breathing suggested she was either afraid or in pain, but neither her eyes nor her mouth responded to Holden’s kisses. There was nothing to say or do. Holden could only wait and suffer. The first drops of rain began to fall on the roof, and he could hear shouts of joy in the parched city.
159. The soul came back a little and the lips moved. Holden bent down to listen. “Keep nothing of mine,” said Ameera. “Take no hair from my head. She would make thee burn it later on. That flame I should feel. Lower! Stoop lower! Remember only that I was thine and bore thee a son. Though thou wed a white woman to-morrow, the pleasure of receiving in thy arms thy first son is taken from thee forever. Remember me when thy son is born—the one that shall carry thy name before all men. His misfortunes be on my head. I bear witness—I bear witness”—the lips were forming the words on his ear—“that there is no God but—thee, beloved!”
159. The soul came back a little, and the lips moved. Holden leaned down to listen. “Don't keep anything of mine,” Ameera said. “Don't take any hair from my head. She would make you burn it later. I should feel that flame. Lower! Bend down more! Just remember that I was yours and that I gave you a son. Even if you marry a white woman tomorrow, you'll never get to hold your first son in your arms again. Remember me when your son is born—the one who will carry your name before everyone. His troubles will be on me. I bear witness—I bear witness”—the lips formed the words in his ear—“that there is no God but—you, my beloved!”
160. Then she died. Holden sat still, and all thought was taken from him—till he heard Ameera’s mother lift the curtain.
160. Then she died. Holden sat there, frozen, and his mind went completely blank—until he heard Ameera’s mother lift the curtain.
161. “Is she dead, sahib?”
"Is she dead, sir?"
162. “She is dead.”
"She's dead."
163. “Then I will mourn, and afterwards take an inventory of the furniture in this house. For that will be mine. The sahib does not mean to resume it? It is so little, so very little,[Pg 185] sahib, and I am an old woman. I would like to lie softly.”
163. “Then I will grieve and afterwards check the furniture in this house. Because that will belong to me. The sahib doesn’t plan to take it back? It’s so little, so very little,[Pg 185] sahib, and I am an old woman. I would like to rest comfortably.”
164. “For the mercy of God be silent a while. Go out and mourn where I cannot hear.”
164. “For the mercy of God, be quiet for a bit. Go outside and grieve where I can’t hear you.”
165. “Sahib, she will be buried in four hours.”
165. “Sahib, she will be buried in four hours.”
166. “I know the custom. I shall go ere she is taken away. That matter is in thy hands. Look to it, that the bed on which—on which she lies—”
166. “I know the custom. I’ll go before she’s taken away. That’s up to you. Make sure that the bed she’s lying on—”
167. “Aha! That beautiful red-lacquered bed. I have long desired—”
167. “Aha! That beautiful red-lacquered bed. I've wanted that for a long time—”
168. “That the bed is left here untouched for my disposal. All else in the house is thine. Hire a cart, take everything, go hence, and before sunrise let there be nothing in this house but that which I have ordered thee to respect.”
168. “That the bed stays here untouched for me to use. Everything else in the house is yours. Get a cart, take everything, leave, and before sunrise, make sure there’s nothing left in this house except what I’ve told you to keep safe.”
169. “I am an old woman. I would stay at least for the days of mourning and the rains have just broken. Whither shall I go?”
169. “I’m an old woman. I would stay at least through the mourning period, and the rains have just started. Where should I go?”
170. “What is that to me? My order is that there is a going. The house-gear is worth a thousand rupees, and my orderly shall bring thee a hundred rupees to-night.”
170. “What does that matter to me? My command is that you leave. The household items are worth a thousand rupees, and my assistant will bring you a hundred rupees tonight.”
171. “That is very little. Think of the cart-hire.”
171. “That’s very little. Consider the cost of hiring the cart.”
172. “It shall be nothing unless thou goest, and with speed. O woman, get hence and leave me with my dead!”
172. “It won’t mean anything unless you go, and quickly. Oh woman, get out of here and leave me with my dead!”
173. The mother shuffled down the staircase, and in her anxiety to take[Pg 186] stock of the house-fittings forgot to mourn. Holden stayed by Ameera’s side and the rain roared on the roof. He could not think connectedly by reason of the noise, though he made many attempts to do so. Then four sheeted ghosts glided dripping into the room and stared at him through their veils. They were the washers of the dead. Holden left the room and went out to his horse. He had come in a dead, stifling calm through ankle-deep dust. He found the courtyard a rain-lashed pond alive with frogs; a torrent of yellow water ran under the gate, and a roaring wind drove the bolts of the rain like buckshot against the mud walls. Pir Khan was shivering in his little hut by the gate, and the horse was stamping uneasily in the water.
173. The mother shuffled down the staircase, and in her anxiety to assess the house’s furnishings, she forgot to mourn. Holden stayed by Ameera's side while the rain pounded on the roof. He struggled to think straight because of the noise, despite making several attempts to focus. Then, four covered figures dripped into the room and stared at him through their veils. They were the washers of the dead. Holden left the room and went out to his horse. He had entered through a dead, stifling calm, wading through ankle-deep dust. He found the courtyard had become a rain-soaked pond alive with frogs; a torrent of yellow water flowed under the gate, and a howling wind drove the rain against the mud walls like buckshot. Pir Khan was shivering in his little hut by the gate, and the horse was stamping nervously in the water.
174. “I have been told the sahib’s order,” said Pir Khan. “It is well. This house is now desolate. I go also, or my monkey face would be a reminder of that which has been. Concerning the bed, I will bring that to thy house yonder in the morning; but remember, sahib, it will be to thee a knife turning in a green wound. I go upon a pilgrimage, and I will take no money. I have grown fat in the protection of the Presence whose sorrow is my sorrow. For the last time I hold his stirrup.”
174. “I’ve heard the sahib’s order,” said Pir Khan. “That's fine. This house is now empty. I’m leaving too, or my monkey face would just remind me of what once was. As for the bed, I’ll bring it to your house over there in the morning; but remember, sahib, it will feel like a knife twisting in a fresh wound. I’m going on a pilgrimage, and I won’t take any money. I’ve grown comfortable under the protection of the Presence, whose sorrow is my sorrow. For the last time, I hold his stirrup.”
175. He touched Holden’s foot with both hands, and the horse sprang out into the road, where the creaking bamboos were whipping the sky and[Pg 187] all the frogs were chuckling. Holden could not see for the rain in his face. He put his hands before his eyes and muttered:
175. He touched Holden’s foot with both hands, and the horse jumped out onto the road, where the creaking bamboos were whipping the sky and[Pg 187] all the frogs were chuckling. Holden couldn't see because of the rain in his face. He put his hands over his eyes and muttered:
176. “Oh, you brute! You utter brute!”
176. “Oh, you animal! You total animal!”
177. The news of his trouble was already in his bungalow. He read the knowledge in his butler’s eyes when Ahmed Khan brought in food, and for the first and last time in his life laid a hand upon his master’s shoulder, saying: “Eat, sahib, eat. Meat is good against sorrow. I also have known. Moreover the shadows come and go, sahib; the shadows come and go. These be curried eggs.”
177. The news of his trouble was already in his bungalow. He saw it in his butler’s eyes when Ahmed Khan brought in food, and for the first and last time in his life, he placed a hand on his master’s shoulder, saying: “Eat, sahib, eat. Meat is good for sadness. I know this too. Besides, the shadows come and go, sahib; the shadows come and go. These are curried eggs.”
178. Holden could neither eat nor sleep. The heavens sent down eight inches of rain in that night and washed the earth clean. The waters tore down walls, broke roads, and scoured open the shallow graves on the Mohammedan burying-ground. All next day it rained, and Holden sat still in his house considering his sorrow. On the morning of the third day he received a telegram which said only: “Ricketts, Myndonie. Dying. Holden relieve. Immediate.” Then he thought that before he had departed he would look at the house wherein he had been master and lord. There was a break in the weather, and the rank earth steamed with vapour.
178. Holden couldn't eat or sleep. The heavens dropped eight inches of rain that night and cleaned the earth. The waters knocked down walls, destroyed roads, and opened up the shallow graves in the Muslim cemetery. It rained all day the next day, and Holden sat quietly in his house, lost in his sorrow. On the morning of the third day, he got a telegram that said only: “Ricketts, Myndonie. Dying. Holden relieve. Immediate.” He decided that before he left, he would take a look at the house where he had been in charge. There was a break in the weather, and the soaked ground was steaming with vapor.
179. He found that the rains had torn down the mud pillars of the[Pg 188] gateway, and the heavy wooden gate that had guarded his life hung lazily from one hinge. There was grass three inches high in the courtyard; Pir Khan’s lodge was empty, and the sodden thatch sagged between the beams. A gray squirrel was in possession of the veranda, as if the house had been untenanted for thirty years instead of three days. Ameera’s mother had removed everything except some mildewed matting. The tick-tick of the little scorpions as they hurried across the floor was the only sound in the house. Ameera’s room and the other one where Tota had lived were heavy with mildew; and the narrow staircase leading to the roof was streaked and stained with rain-borne mud. Holden saw all these things, and came out again to meet in the road Durga Dass, his landlord—portly, affable, clothed in white muslin, and driving a C-spring buggy. He was overlooking his property to see how the roofs stood the stress of the first rains.
179. He discovered that the rains had washed away the mud pillars of the[Pg 188] gateway, and the heavy wooden gate that had protected his life hung loosely from one hinge. There was grass three inches high in the courtyard; Pir Khan’s lodge was empty, and the soggy thatch drooped between the beams. A gray squirrel occupied the veranda, as if the house had been vacant for thirty years instead of just three days. Ameera’s mother had taken everything except some damp matting. The tick-tick of little scorpions scurrying across the floor was the only sound in the house. Ameera’s room and the other one where Tota had lived were filled with mildew; and the narrow staircase leading to the roof was streaked and stained with mud from the rain. Holden noticed all these things and came out again to meet Durga Dass, his landlord—stocky, friendly, dressed in white muslin, and driving a C-spring buggy. He was checking his property to see how the roofs held up under the pressure of the first rains.
180. “I have heard,” said he, “you will not take this place any more, sahib?”
180. “I’ve heard,” he said, “that you won’t be taking this place anymore, sahib?”
181. “What are you going to do with it?”
181. “What are you going to do with it?”
182. “Perhaps I shall let it again.”
182. “Maybe I'll let it happen again.”
183. “Then I will keep it on while I am away.”
183. "Then I'll wear it while I'm gone."
184. Durga Dass was silent for some time. “You shall not take it on, sahib,” he said. “When I was a[Pg 189] young man I also—But to-day I am a member of the Municipality. Ho! Ho! No. When the birds have gone, what need to keep the nest? I will have it pulled down—the timber will sell for something always. It shall be pulled down, and the Municipality shall make a road across as they desire, from the burning-ghaut to the city wall, so that no man may say where this house stood.”
184. Durga Dass was quiet for a while. “You shouldn’t take that on, sahib,” he said. “When I was younger, I also—But today I’m a member of the Municipality. Ha! No way. Once the birds are gone, what’s the point of keeping the nest? I’ll have it torn down—the wood will always sell for something. It will be demolished, and the Municipality can create a road as they want, from the cremation ground to the city wall, so that no one can say where this house used to be.”
SUGGESTIVE QUESTIONS FOR STUDY
1. Using the term “Emotion”[22] broadly, make a list of all the emotions you can.
1. Using the term “Emotion”[22] in a general way, list all the emotions you can think of.
2. Which of these are displayed in “The Last Class”?
2. Which of these are shown in “The Last Class”?
3. Which in “Without Benefit of Clergy”?
3. Which in "Without Benefit of Clergy"?
4. Cite different passages, by referring to the numbered paragraphs, in which certain specific emotions are displayed.
4. Cite different passages by referring to the numbered paragraphs, where specific emotions are shown.
5. Do you notice any emotional expressions which seem to you to be either extravagant, or weak, or in any way untrue to life?
5. Do you notice any emotional expressions that seem either over-the-top, weak, or not realistic in any way?
6. Point out how the author conveys the ideas of emotion, such as by emotional words, gestures, attitudes, etc.
6. Show how the author expresses emotions through emotional language, gestures, attitudes, and so on.
7. Write five short original paragraphs expressing five different emotions, using varied means of conveying the impressions of strong feeling.
7. Write five short original paragraphs that express five different emotions, using different ways to convey the intensity of those feelings.
8. Select from some magazine a story of the emotional type, and point out in a few words why you consider it to be a typically emotional story.
8. Choose an emotional story from a magazine and briefly explain why you think it represents a typical emotional story.
[Pg 190]
[Pg 190]
TEN REPRESENTATIVE STORIES OF EMOTION OR SENTIMENT
“A Doctor of The Old School,” Ian Maclaren, in The Days of Auld Lang Syne.
“A Doctor of The Old School,” Ian Maclaren, in The Days of Auld Lang Syne.
“A Descent into the Maelstrom,” Edgar Allan Poe, in Tales.
“A Descent into the Maelstrom,” Edgar Allan Poe, in Tales.
“The Duchess at Prayer,” Edith Wharton, in Crucial Instances.
“The Duchess at Prayer,” Edith Wharton, in Crucial Instances.
“A Lear of the Steppes,” Ivan Turgeneff, translated in The Book of The Short-Story. Jessup and Canby.
“A Lear of the Steppes,” by Ivan Turgenev, translated in The Book of The Short Story. Jessup and Canby.
“The Death of the Dauphin,” Alphonse Daudet, translated in Little French Masterpieces.
“The Death of the Dauphin,” Alphonse Daudet, translated in Little French Masterpieces.
“The Birthmark,” Nathaniel Hawthorne, in Mosses From an Old Manse.
“The Birthmark,” Nathaniel Hawthorne, in Mosses From an Old Manse.
“Tennessee’s Partner,” Bret Harte, in The Luck of Roaring Camp and Other Stories.
“Tennessee’s Partner,” Bret Harte, in The Luck of Roaring Camp and Other Stories.
“The Death of Olivier Becaille,” Émile Zola, translated in Masterpieces of Fiction.
“The Death of Olivier Becaille,” Émile Zola, translated in Masterpieces of Fiction.
“They,” Rudyard Kipling, in Traffic and Discoveries.
“They,” Rudyard Kipling, in Traffic and Discoveries.
“Juggler to ‘Our Lady,’” Anatole France, in Short-Story Masterpieces.
“Juggler to ‘Our Lady,’” Anatole France, in Short-Story Masterpieces.
FOOTNOTES:
FOOTNOTES:
[20] Emotion is a broad word loosely used to embrace all the tones of inner feeling, from the palest sentiment depicted by a Jane Austen, to the darkest passion of a Werther.—Writing the Short-Story, p. 181, which see for a fuller discussion of emotion in the short-story.
[20] Emotion is a wide-ranging term that generally covers all the shades of inner feelings, from the most subtle sentiments expressed by a Jane Austen to the deepest passions found in a Werther.—Writing the Short-Story, p. 181, which has a more detailed discussion of emotion in the short story.
[Pg 191]
[Pg 191]
IV
HUMOROUS STORIES
The Ransom of Red Chief.—O. Henry
The Ransom of Red Chief.—O. Henry
The Courting of T’Nowhead’s Bell.—J. M. Barrie
The Courting of T’Nowhead’s Bell.—J.M. Barrie
[Pg 192]
[Pg 192]
Sydney Smith uses this word [humor] to cover any thing that is ridiculous and laughable. So the epithet comic is quite indiscriminately applied. But we ought not to submit to this loose application; for there are plenty of other words to make proper distinctions for us amid our pleasurable moods, and permit us to reserve humor for something which is neither punning, wit, satire, nor comedy. Humor may avail itself of all these mental exercises, but only as a manager casts his stock company to set forth the prevailing spirit of a play. Comedy, for instance, represents sorrows, passions, and annoyances, but shows them without the sombre purpose of tragedy to enforce a supreme will at any cost. All our weaknesses threaten in comedy to result in serious embarrassments, but there is such inexhaustible material for laughter in the whims and follies with which we baffle ourselves and others, that the tragic threat is collared just in time and shaken into pleasure. All kinds of details of our life are represented, which tragedy could never tolerate in its main drift towards the pathos of defeated human wills and broken hearts. Tricks, vices, fatuities, crotchets, vanities, play their game for a stake no higher than the mirth of outwitting each other; and they all pay penalties of a light kind which God exacts smilingly for the sake of keeping our disorders at a minimum. Comedy also finds a great deal of its charm in the unconsciousness of an infirmity. We exhibit ourselves unawares: each one is perfectly understood by everybody but himself; so we plot and vapor through an intrigue with placards on each back, where all but the wearers can indulge their mirth at seeing us parading so innocently with advertisements of our price and quality.—John Weiss, Wit, Humor, and Shakespeare.
Sydney Smith uses the word [humor] to refer to anything that is ridiculous and laughable. So, the term comic is applied rather loosely. However, we shouldn't accept this casual usage; there are plenty of other words that can help make proper distinctions for us during our lighter moments and allow us to reserve humor for something that isn’t just punning, wit, satire, or comedy. Humor can draw on all these styles, but only as a director orchestrates his cast to convey the overall feel of a play. For example, comedy showcases sorrows, passions, and annoyances, but does so without the dark intent of tragedy to enforce a supreme will at any cost. In comedy, all our flaws might lead to serious embarrassing situations, but there’s such endless content for laughter in the quirks and foolishness with which we confuse ourselves and others, that the tragic threat is quickly defused and turned into joy. Comedy portrays countless details of our lives that tragedy could never accept, as it focuses on the pathos of defeated human wills and broken hearts. Tricks, vices, absurdities, eccentricities, and vanities all engage in their antics for the sake of nothing more than the fun of outsmarting each other; and they all face mild consequences that God imposes with a smile to keep our chaos in check. A big part of comedy’s charm also lies in the ignorance of our own faults. We reveal ourselves without realizing it: everyone understands us perfectly except for ourselves; so we scheme and flaunt ourselves through a situation with signs on our backs, where everyone but the wearers can enjoy the humor of seeing us walk around so innocently, showcasing our price and quality. —John Weiss, Wit, Humor, and Shakespeare.
[Pg 193]
[Pg 193]
HUMOROUS STORIES
There are as many kinds of humorous stories as there are kinds of humor, ranging from gentle mirth, comedy, fun, and farce, to burlesque, ridicule, satire and irony. Some stories are typically humorous in their central situation, as Mark Twain’s “The Celebrated Jumping Frog of Calaveras County”; others abound in a whole series of funny situations, as “The King of Boyville,” by William Allen White; others, again, are rich in the humorous sayings by the writer, rather than revealed in humorous plot, as in Artemus Ward’s sketch, “Horace Greeley’s Ride to Placerville”; still others put the humor into the speech of the characters, as in “The Phonograph and the Graft,” by O. Henry; while yet others exhibit two or more of the foregoing kinds, and are by turns gay, or whimsical, or satirical, as the characters and happenings may permit, mingling humor of plot with mirth of word and incident.
There are as many types of humorous stories as there are styles of humor, ranging from lighthearted fun, comedy, and farce, to burlesque, ridicule, satire, and irony. Some stories are funny mainly because of their central situation, like Mark Twain’s “The Celebrated Jumping Frog of Calaveras County”; others include a series of amusing situations, such as “The King of Boyville” by William Allen White; still others offer humor through witty sayings from the writer rather than through a humorous plot, like Artemus Ward’s sketch, “Horace Greeley’s Ride to Placerville”; and some focus on the humor found in the characters’ dialogue, as in “The Phonograph and the Graft” by O. Henry; while others blend two or more of these styles, shifting from playful and whimsical to satirical, depending on the characters and events, combining plot-driven humor with funny dialogue and incidents.
The two chief ingredients of humor—though for the most part it defies analysis—are surprise, and a feeling of incongruity. But these must be accompanied by no higher emotion. It would surprise us to meet the incongruous sight of a half-clad child struggling in the snow, but the vision would not be humorous—the higher emotion of pity would preclude that. But to see an arrogant fop stripped of his finery and floundering and spluttering in a snow drift into which he had been tossed, would be funny—to others.
The two main ingredients of humor—though it mostly resists analysis—are surprise and a sense of incongruity. But these must be paired with no stronger emotion. It would shock us to see a half-clothed child struggling in the snow, but that image wouldn’t be funny—the stronger emotion of pity would prevent that. However, seeing a pompous dandy stripped of his fancy clothes, floundering and sputtering in a snow drift he had been thrown into, would be funny—to others.
Merely for a story to possess humor would not warrant our classing it as a humorous story, for humor is a sunny ray gleaming often through literature and life, but when the typical spirit and prevailing treatment of the story are humorous, it may properly be so entitled.
Just because a story has some funny moments doesn't mean we can label it a humorous story. Humor is like a bright ray shining through literature and life, but when the overall mood and approach of the story are funny, it can rightfully be called that.
[Pg 194]
[Pg 194]
HENRY AND HIS WRITINGS
William Sidney Porter, otherwise known as “O. Henry,” was born in 1867, in Greensboro, N. C.—the descendant of several governors of that state, it may be remarked in passing. While still very young he went to Texas and received his education at an academy there. Because of poor health he was unable to attend college, so he spent two and a half years of his early manhood on a cattle ranch. Following that period came his journalistic work on the Houston Post, and a little ten-page weekly story-paper of his own, The Iconoclast—afterwards renamed The Rolling Stone—most of the stories for which he wrote himself. After several years in Houston, he visited Central America with a friend—a trip which, later, yielded rich material for his first book. Then followed a short period as a drug clerk in Austin, Texas. Next we see him in New Orleans, again embarked upon literary work; and there it was that he first showed real promise as a short-story writer, and there[Pg 195] also that he adopted his unique pseudonym—the surname of which was selected at random from a newspaper account of a social function, and the initial letter because it was the “easiest letter written.” About eight years before his death he came to New York, in response to an offer from one of the magazine editors there, and after that his name became well-known and his success assured. He died in New York City, June 5, 1910, at the age of forty-two. His three earliest books are perhaps the ones by which he is best known; Cabbages and Kings, The Four Million, and The Trimmed Lamp. Eleven volumes of short-stories comprise his literary output. The later stories do not enhance his reputation, though some of them are in his best vein—notably “The Ransom of Red Chief,” contained in the volume Whirligigs, published the year of his death. His last book, Sixes and Sevens, was issued posthumously, in 1911.
William Sidney Porter, also known as “O. Henry,” was born in 1867 in Greensboro, N.C. Notably, he was a descendant of several governors from that state. As a young man, he moved to Texas, where he was educated at a local academy. Due to health issues, he couldn’t attend college, so he spent two and a half years working on a cattle ranch. After that, he took on journalistic work at the Houston Post and also created a small ten-page weekly story paper called The Iconoclast, which he later renamed The Rolling Stone, contributing most of the stories himself. After several years in Houston, he traveled to Central America with a friend, which later provided rich material for his first book. He then had a brief stint as a drug clerk in Austin, Texas. Next, he ended up in New Orleans, where he focused on literary work, during which time he began to show real promise as a short-story writer. It was also there that he adopted his unique pseudonym; he chose the last name randomly from a newspaper article about a social event and picked the initial letter because it was the easiest to write. About eight years before his death, he moved to New York in response to an offer from a magazine editor, and after that, he became well-known and assured his success. He passed away in New York City on June 5, 1910, at the age of forty-two. His three earliest books, Cabbages and Kings, The Four Million, and The Trimmed Lamp, are perhaps the most famous. He published eleven volumes of short stories in total. While some of his later stories do not boost his reputation, a few are among his best, including “The Ransom of Red Chief,” found in the collection Whirligigs, which was released in the year of his death. His final book, Sixes and Sevens, was published posthumously in 1911.
Of all short-story writers O. Henry was easily first as a master of surprise. The sudden and often astounding reversals at the end of his stories became delightfully characteristic, and the reader with the O. Henry habit played a happy though always losing game with himself in trying to forecast the denouement of each new story. Sometimes the yarn-spinner would delight in leading us to curl our lip, and say, “Pshaw, O. Henry is employing a rather old device—in fact, this is quite trite—” and then all in an instant the sly phrase would peep forth to show that we had been caught from ambush; for O. Henry had scant reverence for the reader’s dignity—he[Pg 196] poked fun at him as laughingly as could Shakespeare himself, on occasion.
Of all short-story writers, O. Henry was definitely the best at creating surprises. The sudden and often shocking twists at the end of his stories became a signature style, and readers who enjoyed O. Henry often played a fun but always losing game with themselves, trying to guess how each new story would end. Sometimes, the storyteller would lead us to scoff and say, “Come on, O. Henry is using a pretty old trick—this is so predictable—” and then, all of a sudden, a clever twist would pop up to reveal that we had been caught off guard; O. Henry had little respect for the reader's dignity—he poked fun at them with as much joy as Shakespeare himself did at times.[Pg 196]
No other writer ever made slang so really funny, yet few knew better the richness of serious English diction for really literary ends. Not that he embellished his sentences, but that he appraised every word at its true value before uttering it as literary coin. When he said that one of his characters was “denounced by the name of——” (I have forgotten what), he extracted the full essence from those six words, and that is art.
No other writer ever made slang so genuinely funny, yet few understood the depth of serious English vocabulary for true literary purposes. He didn’t fancy up his sentences, but he recognized the true worth of every word before using it as literary currency. When he mentioned that one of his characters was “denounced by the name of——” (I’ve forgotten what), he drew out the complete meaning from those six words, and that’s true art.
Other short-story writers have been as trenchant in wit, others as keen in observation, but none has known so wide a variety of common-folk as O. Henry. Four great types he understood with rare completeness: the Texan (Heart of the West), the Central American (Cabbages and Kings), the middle-and lower-class New Yorker (The Four Million),—and Everybody Else (all of his eleven books of short-stories).
Other short-story writers have been just as sharp in wit, others just as insightful in observation, but none have captured such a wide variety of everyday people as O. Henry. He had a unique understanding of four major types: the Texan (Heart of the West), the Central American (Cabbages and Kings), the middle and lower-class New Yorker (The Four Million),—and Everyone Else (all of his eleven books of short stories).
O. Henry’s advice to young writers as to the secret of short-story writing is well known. “There are two rules,” he said. “The first rule is to write stories that please yourself. There is no second rule.” He was once facetiously asked if there were a second rule, what that rule would be. “Sell the story,” he answered.—G. J. Nathan, O. Henry in His Own Bagdad. The Bookman, vol. 31.
O. Henry’s advice to young writers about the secret of short-story writing is famous. “There are two rules,” he said. “The first rule is to write stories that make you happy. There is no second rule.” He was once jokingly asked what the second rule would be if there was one. “Sell the story,” he replied.—G.J. Nathan, O. Henry in His Own Bagdad. The Bookman, vol. 31.
O. Henry has often been called “the Yankee Maupassant,” and up to a certain point the characterization is suggestive. His stories have the swiftness and point of the anecdote, as Maupassant’s have. He employs just enough art to keep alive the reader’s[Pg 197] interest for the laugh or the gasp to which everything else leads up.... As a humorist he was American to the finger tips. That is to say, he secured his effects by over-statement, which is the salient characteristic of American humor.... Mark Twain was a world humorist; O. Henry was an American humorist.—A Typically American Short-Story Writer (Current Literature, vol. 49).
O. Henry has often been referred to as “the Yankee Maupassant,” and to some extent, that description fits. His stories have the quickness and sharpness of anecdotes, similar to Maupassant’s. He uses just enough skill to keep the reader's[Pg 197] interest until the moment of laughter or surprise that everything else leads to.... As a humorist, he was thoroughly American. In other words, he achieved his effects through exaggeration, which is a key trait of American humor.... Mark Twain was a global humorist; O. Henry was an American humorist.—A Typically American Short-Story Writer (Current Literature, vol. 49).
The author seems to know almost every type of man—the rich and portly financier, the “fly” newsboy or district messenger, the denizens of the great hotels, the “salesladies,” the chorus girls, the women in the shop, the raffish hangers-on of the saloons, the gamblers, and the grafters.... Mr. Porter is a real flâneur of the American type, only, he confines himself to no boulevard, to no city, to no state, nor even to a single country. The world, in fact, is his oyster, and he has learned almost unconsciously to open it and to extract from it alike the meat and the salty juices.... He gets down to the very heart of things. He sees the humour and the pathos blended; yet, on the whole, he is an optimist ... who believes that in every human being there is to be found something good, however mixed it may be with other qualities; and, like a true American, he can see and chuckle at the humour of it all.—Harry Thurston Peck, Some Representative American Story-Tellers, The Bookman, vol. 31.
The author seems to know almost every kind of man—the wealthy and stout financier, the savvy newsboy or district messenger, the regulars of the big hotels, the saleswomen, the chorus girls, the shop workers, the shady hangers-on of the bars, the gamblers, and the con artists.... Mr. Porter is a true American flâneur, but he doesn’t limit himself to any one street, city, state, or even country. The world is essentially his oyster, and he has learned almost instinctively how to open it and get both the meat and the salty juices out.... He gets to the core of things. He recognizes the humor and the sadness mixed together; yet, overall, he is an optimist who believes that within every person, there's something good, no matter how much it's mixed with other traits; and, like a genuine American, he can appreciate and laugh at the humor of it all.—Harry Thurston Peck, Some Representative American Story-Tellers, The Bookman, vol. 31.
FURTHER REFERENCES FOR READING ON O. HENRY
FURTHER REFERENCES FOR READING ON O. HENRY
Some American Story-Tellers, Frederic Taber Cooper (1911); Life of O. Henry, Peyton Steger (1911); O. Henry Biography, C. Alphonso Smith (1916). Magazine articles: The Bookman: The Personal O. Henry, 29, 345; 29, 579; O. Henry’s Shorter Stories, Justus Miles Forman, 31, 131; Sketch of O. Henry, 31, 456; Representative American Story-Tellers, Harry Thurston Peck, 31, 477; O. Henry in His Own Bagdad, G. J. Nathan, 31, 477. North American Review, 187, 781.
Some American Story-Tellers, Frederic Taber Cooper (1911); Life of O. Henry, Peyton Steger (1911); O. Henry Biography, C. Alphonso Smith (1916). Magazine articles: The Bookman: The Personal O. Henry, 29, 345; 29, 579; O. Henry’s Shorter Stories, Justus Miles Forman, 31, 131; Sketch of O. Henry, 31, 456; Representative American Story-Tellers, Harry Thurston Peck, 31, 477; O. Henry in His Own Bagdad, G. J. Nathan, 31, 477. North American Review, 187, 781.
[Pg 198]
[Pg 198]
THE RANSOM OF RED CHIEF[23]
BY O. HENRY
BY O. HENRY
Setting and characters.
A favorite form of humor with O. Henry.
It looked like a good thing; but wait till I tell you. We were down South, in Alabama—Bill Driscoll and myself—when this kidnapping idea struck us. It was, as Bill afterward expressed it, “during a moment of temporary mental apparition”; but we didn’t find that out till later.
It seemed like a great idea; but just wait until I tell you. We were down South, in Alabama—Bill Driscoll and I—when the idea of kidnapping hit us. It was, as Bill later put it, “during a moment of temporary mental lapse"; but we didn’t realize that until later.
Satire of contrast—frequent with author.
2. There was a town down there, as flat as a flannel-cake, and called Summit, of course. It contained inhabitants of as undeleterious and self-satisfied a class of peasantry as ever clustered around a Maypole.
2. There was a town down there, as flat as a pancake, and called Summit, of course. It was home to a group of content and harmless people, just like those who used to gather around a Maypole.
3. Bill and me had a joint capital of about six hundred dollars, and we needed just two thousand dollars more to pull off a fraudulent town-lot scheme in Western Illinois with. We talked it over on the front steps of the hotel. Philoprogenitiveness, says we, is strong in semi-rural communities; therefore, and for other reasons, a kidnapping project ought The introduction develops the foundation of the Plot Situation gradually. to do better there than in the radius of newspapers that send reporters out in plain clothes to stir up talk about such things. We know that Summit couldn’t get after us with [Pg 199]anything stronger than constables and, maybe, some lackadaisical blood-hounds and a diatribe or two in the Weekly Farmers’ Budget. So, it looked good.
3. Bill and I had a combined capital of about six hundred dollars, and we needed just two thousand dollars more to pull off a fraudulent town-lot scheme in Western Illinois. We discussed it on the front steps of the hotel. We said that people tend to want large families in semi-rural areas; therefore, for that and other reasons, a kidnapping project should work better there than in places where newspapers send reporters in plain clothes to stir up discussions about such things. We knew that Summit couldn’t come after us with anything stronger than constables and, maybe, some lazy bloodhounds and a few rants in the Weekly Farmers’ Budget. So, it seemed like a good plan.
4. We selected for our victim the only child of a prominent citizen named Ebenezer Dorset. The father was respectable and tight, a mortgage fancier and a stern, upright collection-plate passer and forecloser. The kid was a boy of ten, with bas-relief freckles, and hair the color of the cover of the magazine you buy at the news-stand when you want to catch a train. Bill and me figured that Ebenezer would melt down for a ransom of two thousand dollars to a cent. But wait till I tell you.
4. We picked out our victim, the only child of a well-known citizen named Ebenezer Dorset. His father was respectable but stingy, a mortgage dealer and a serious, diligent church collection guy who also dealt with foreclosures. The kid was a ten-year-old boy, with prominent freckles and hair the color of the magazine cover you grab at the newsstand when you’re trying to catch a train. Bill and I figured that Ebenezer would be willing to pay a ransom of two thousand dollars without hesitation. But wait until I tell you.
5. About two miles from Summit was a little mountain, covered with a dense cedar brake. On the rear elevation of this mountain was a cave. There we stored provisions.
5. About two miles from Summit was a small mountain, covered with a thick cedar thicket. On the back side of this mountain was a cave. That’s where we kept our supplies.
6. One evening after sundown, we drove in a buggy past old Dorset’s house. The kid was in the street, throwing rocks at the kitten on the opposite fence.
6. One evening after sunset, we drove in a carriage past old Dorset’s house. The kid was in the street, throwing stones at the kitten on the other fence.
7. “Hey, little boy!” says Bill, “would you like to have a bag of candy and a nice ride?”
7. “Hey, kid!” says Bill, “do you want a bag of candy and a fun ride?”
8. The boy catches Bill neatly in
the eye with a piece of brick. Contributory Incident.
As a matter of technique,
note that contributory incidents
might be varied or
omitted without altering
the plot essentially. These
are not all specifically
noted in this story.
8. The boy hits Bill squarely in the eye with a piece of brick. Contributory Incident.
Just as a note, remember that contributory incidents can be altered or removed without fundamentally affecting the plot. Not all of these are specifically mentioned in this story.
9. “That will cost the old man an extra five hundred dollars,” says Bill, climbing over the wheel.
9. “That’s going to cost the old man an extra five hundred bucks,” says Bill, sliding over the wheel.
10. That boy put up a fight like a welterweight cinnamon bear; but, at [Pg 200] last, we got him down in the bottom of the buggy and drove away. We took him up to the cave, and I hitched the horse in the cedar brake. After dark I drove the buggy to the little village, three miles away, where we had hired it, and walked back to the mountain.
10. That boy fought like a welterweight cinnamon bear; but, at [Pg 200] last, we managed to get him down in the bottom of the buggy and drove off. We took him up to the cave, and I tied the horse in the cedar grove. After dark, I drove the buggy to the little village, three miles away, where we had rented it, and walked back to the mountain.
11. Bill was pasting court-plaster over the scratches and bruises on his features. There was a fire burning behind the big rock at the entrance of the cave, and the boy was watching a pot of boiling coffee, with two buzzard tail-feathers stuck in his red hair. He points a stick at me when I come up, and says:
11. Bill was putting bandages on the cuts and bruises on his face. There was a fire burning behind a large rock at the cave entrance, and the boy was watching a pot of boiling coffee, with two buzzard tail feathers stuck in his red hair. He pointed a stick at me when I approached and said:
“Bill” never smiles.
12. “Ha! cursed paleface, do you dare to enter the camp of Red Chief, the terror of the plains?”
12. “Ha! Cursed white man, do you dare to step into the camp of Red Chief, the terror of the plains?”
13. “He’s all right now,” says Bill, rolling up his trousers and examining some bruises on his shins. “We’re playing Indian. We’re making Buffalo Bill’s show look like magic-lantern views of Palestine in the town hall. Note how the author uses swift changes to humorous effect. I’m Old Hank, the Trapper, Red Chief’s captive, and I’m to be scalped at daybreak. By Geronimo! that kid can kick hard.”
13. “He’s good now,” says Bill, rolling up his pants and checking out some bruises on his shins. “We’re playing Indian. We’re making Buffalo Bill’s show look like old-time slides of Palestine at the town hall. Notice how the author uses quick shifts for comedic impact. I’m Old Hank, the Trapper, Red Chief’s captive, and I’m going to be scalped at sunrise. By Geronimo! that kid can really kick.”
14. Yes, sir, that kid seemed to be having the time of his life. The fun of camping out in a cave had made him forget that he was a captive himself. He immediately christened me Snake-eye, the Spy, and announced that, when his braves returned from the warpath, I was to be broiled [Pg 201] at the stake at the rising of the sun.
14. Yeah, that kid looked like he was having a blast. The excitement of camping out in a cave made him forget he was a prisoner too. He quickly gave me the nickname Snake-eye, the Spy, and declared that when his warriors got back from their mission, I would be roasted at the stake at sunrise. [Pg 201]
15. Then we had supper; and he filled his mouth full of bacon and bread and gravy, and began to talk. He made a during-dinner speech something like this:
15. Then we had dinner, and he stuffed his mouth full of bacon, bread, and gravy, and started to talk. He gave a speech during dinner that went something like this:
16. “I like this fine. I never camped out before; but I had a pet 'possum once, and I was nine last birthday. I hate to go to school. Rats ate up sixteen of Jimmy Talbot’s aunt’s speckled hen’s eggs. Are there any real Indians in these woods? I want some more gravy. Does the trees moving make the wind blow? We had five puppies. What makes your nose so red, Hank? My father has lots of money. Are the stars hot? I whipped Ed Walker twice, Saturday. I don’t like girls. You dasent catch toads unless with a string. Do oxen make any noise? Why are oranges round? Have you got beds to sleep on in this cave? Amos Murray has got six toes. A parrot can talk, but a monkey or a fish can’t. How many does it take to make twelve?”
16. “I like this a lot. I’ve never camped out before, but I had a pet opossum once, and I turned nine last birthday. I really dislike going to school. Rats ate sixteen of Jimmy Talbot’s aunt’s speckled hen’s eggs. Are there any real Indians in these woods? I want more gravy. Do the trees moving make the wind blow? We had five puppies. What makes your nose so red, Hank? My dad has a lot of money. Are the stars hot? I beat Ed Walker twice on Saturday. I don’t like girls. You can’t catch toads unless you have a string. Do oxen make any noise? Why are oranges round? Do you have beds to sleep on in this cave? Amos Murray has six toes. A parrot can talk, but a monkey or a fish can’t. How many does it take to make twelve?”
17. Every few minutes he would remember that he was a pesky red-skin, and pick up his stick rifle and tip-toe to the mouth of the cave to rubber for the scouts of the hated paleface. Essential Situation.Now and then he would let out a war-whoop that made Old Hank the Trapper, shiver. That boy had Bill terrorized from the start.
17. Every few minutes, he'd remember that he was an annoying Native American, pick up his toy rifle, and quietly sneak to the mouth of the cave to watch for the scouts of the despised white men. Key Situation. Occasionally, he'd let out a war cry that made Old Hank the Trapper shiver. That boy had Bill scared from the very beginning.
[Pg 202]
[Pg 202]
18. “Red Chief,” says I to the kid, “would you like to go home?”
18. “Red Chief,” I said to the kid, “do you want to go home?”
19. “Aw, what for?” says he. “I
don’t have any fun at home. I hate
to go to school. I like to camp out. Key.
Use of the unexpected.
You won’t take me back home again,
Snake-eye, will you?”
19. “Aw, why would I?” he says. “I don’t have any fun at home. I hate going to school. I like camping out. Key.
Use of the surprising.
You’re not going to take me back home again, are you, Snake-eye?”
20. “Not right away,” says I. “We’ll stay here in the cave a while.”
20. “Not just yet,” I said. “We’ll hang out here in the cave for a bit.”
21. “All right!” says he. “That’ll be fine. I never had such fun in all my life.”
21. “Alright!” he says. “That’ll be great. I’ve never had this much fun in my life.”
22. We went to bed about eleven o’clock. We spread down some wide blankets and quilts and put Red Chief between us. We weren’t afraid he’d run away. He kept us awake for three hours, jumping up and reaching for his rifle and screeching: “Hist! pard,” in mine and Bill’s ears, as the fancied crackle of a twig or the rustle of a leaf revealed to his young imagination the stealthy approach of the outlaw band. Narrator lapses now and then into “better” language. At last, I fell into a troubled sleep, and dreamed that I had been kidnapped and chained to a tree by a ferocious pirate with red hair.
22. We went to bed around eleven o’clock. We laid out some big blankets and quilts and put Red Chief between us. We weren’t worried he’d run away. He kept us awake for three hours, jumping up and reaching for his rifle and shouting, “Hey, buddy,” in mine and Bill’s ears, as the imagined sound of a twig snapping or the rustle of a leaf triggered his young imagination about the sneaky approach of an outlaw gang. The narrator occasionally slips into more formal language. Finally, I fell into a restless sleep and dreamed that I had been kidnapped and chained to a tree by a fierce pirate with red hair.
23. Just at daybreak, I was awakened by a series of awful screams from Bill. They weren’t yells, or howls, or shouts, or whoops, or yawps, such as you’d expect from a manly set of vocal organs—they were simply indecent, terrifying, humiliating screams, such as women emit when they see ghosts or caterpillars. It’s an awful thing to hear a strong, desperate,[Pg 203] fat man scream incontinently in a cave at daybreak.
23. Just at dawn, I was jolted awake by a series of horrifying screams from Bill. They weren’t yells, howls, shouts, whoops, or anything you'd expect from a strong set of vocal cords—they were just indecent, terrifying, humiliating screams, like the ones women make when they see ghosts or caterpillars. It’s a terrible thing to hear a strong, desperate, fat man scream uncontrollably in a cave at daybreak.[Pg 203]
24. I jumped up to see what the matter was. Red Chief was sitting on Bill’s chest, with one hand twined in Bill’s hair. In the other he had the sharp case-knife we used for slicing bacon; and he was industriously and realistically trying to take Bill’s scalp, according to the sentence that had been pronounced upon him the evening before.
24. I jumped up to see what was going on. Red Chief was on Bill's chest, one hand tangled in Bill's hair. In the other hand, he had the sharp case knife we used for cutting bacon, and he was purposefully and seriously trying to take Bill's scalp, just like the sentence that had been passed down to him the night before.
25. I got the knife away from the kid and made him lie down again. But, from that moment, Bill’s spirit was broken. He laid down on his side of the bed, but he never closed an eye again in sleep as long as that boy was with us. I dozed off for a Note that the author develops his story by the use of progressive plot situations and contributory (non-essential) incidents. while, but along toward sun-up I remembered that Red Chief had said I was to be burned at the stake at the rising of the sun. I wasn’t nervous or afraid; but I sat up and lit my pipe and leaned against a rock.
25. I got the knife away from the kid and made him lie down again. But from that moment, Bill was completely defeated. He lay on his side of the bed, but he never closed his eyes to sleep again as long as that boy was with us. I dozed off for a while, but as dawn approached, I remembered that Red Chief had said I was supposed to be burned at the stake when the sun rose. I wasn’t nervous or scared; I just sat up, lit my pipe, and leaned against a rock.
26. “What you getting up so soon for, Sam?” asked Bill.
26. "Why are you getting up so early, Sam?" asked Bill.
27. “Me?” says I. “Oh, I got a kind of a pain in my shoulder. I thought sitting up would rest it.”
27. “Me?” I said. “Oh, I have some pain in my shoulder. I thought sitting up would help.”
28. “You’re a liar!” says Bill. “You’re afraid. You was to be burned at sunrise, and you was afraid he’d do it. And he would, too, if he could find a match. Ain’t it awful, Sam? Do you think anybody will pay out money to get a little imp like that back home?”
28. “You’re a liar!” Bill exclaims. “You’re scared. You were supposed to be burned at sunrise, and you were scared he’d actually do it. And he would, too, if he could find a match. Isn’t it awful, Sam? Do you think anyone would pay money to bring a little brat like that back home?”
29. “Sure,” said I. “A rowdy kid[Pg 204] like that is just the kind that parents dote on. Now, you and the Chief get up and cook breakfast, while I go up on the top of this mountain and reconnoitre.”
29. “Sure,” I said. “A noisy kid like that is exactly the kind that parents adore. Now, you and the Chief get up and make breakfast while I head up to the top of this mountain to scout things out.”
30. I went up on the peak of the little mountain and ran my eye over the contiguous vicinity. Over toward Summit I expected to see the sturdy yeomanry of the village armed with scythes and pitchforks beating the country-side for the dastardly kidnappers. But what I saw was a peaceful landscape dotted with one man ploughing with a dun mule. Plot Situation. Nobody was dragging the creek; no couriers dashed hither and yon, bringing tidings of no news to the distracted parents. There was a sylvan attitude of somnolent sleepiness pervading the section of the external outward surface of Alabama that lay exposed to my view. “Perhaps,” says I to myself, “it has not yet been discovered that the wolves have borne away the tender lambkin from the fold. Key. Heaven help the wolves!” says I, and I went down the mountain to breakfast.
30. I climbed to the top of the little mountain and looked over the surrounding area. Toward Summit, I expected to see the strong farmers of the village armed with scythes and pitchforks searching the countryside for the cowardly kidnappers. But instead, I saw a peaceful landscape with just one man plowing with a brown mule. Plot Situation. Nobody was fishing in the creek; no messengers were rushing back and forth, bringing news of nothing to the worried parents. There was a sleepy, peaceful atmosphere in this part of Alabama that I could see. “Maybe,” I thought to myself, “they haven’t realized yet that the wolves have taken the innocent lamb from the fold. Key. Heaven help the wolves!” I said, and I went down the mountain to have breakfast.
31. When I got to the cave I found Bill backed up against the side of it, breathing hard, and the boy threatening to smash him with a rock half as big as a cocoanut.
31. When I reached the cave, I found Bill pressed against the side, breathing heavily, while the boy was threatening to hit him with a rock about half the size of a coconut.
32. “He put a red-hot boiled potato down my back,” explained Bill, “and then mashed it with his foot; and I boxed his ears. Have you got a gun about you, Sam?”
32. “He pressed a hot boiled potato against my back,” Bill said, “and then smashed it with his foot; so I gave him a good smack. Do you have a gun on you, Sam?”
[Pg 205]
[Pg 205]
33. I took the rock away from the boy and kind of patched up the argument. “I’ll fix you,” says the kid to Bill. “No man ever yet struck the Red Chief but what he got paid for it. You better beware!”
33. I took the rock from the boy and sort of smoothed over the argument. “I’ll get you back,” the kid says to Bill. “No one has ever hit the Red Chief without getting payback. You’d better watch out!”
34. After breakfast the kid takes a piece of leather with strings wrapped around it out of his pocket and goes outside the cave unwinding it.
34. After breakfast, the kid pulls a piece of leather with strings wrapped around it out of his pocket and goes outside the cave, unwinding it.
35. “What’s he up to now?” says Bill, anxiously. “You don’t think he’ll run away, do you, Sam?”
35. “What’s he doing now?” Bill asks, nervously. “You don’t think he’ll run away, do you, Sam?”
36. “No fear of it,” says I. “He don’t seem to be much of a home body. But we’ve got to fix up some plan about the ransom. There don’t seem to be much excitement around Summit on account of his disappearance; but maybe they haven’t realized yet that he’s gone. His folks may think he’s spending the night with Aunt Jane or one of the neighbors. Anyhow, he’ll be missed to-day. To-night we must get a message to his father demanding the two thousand dollars for his return.”
36. “No worries about that,” I said. “He doesn’t seem to be much of a homebody. But we need to come up with a plan for the ransom. There doesn’t seem to be much buzz around Summit because of his disappearance; maybe they haven’t realized that he’s actually gone. His family might think he’s just staying the night with Aunt Jane or one of the neighbors. Anyway, they’ll definitely notice he’s missing today. Tonight, we need to send a message to his dad asking for two thousand dollars to get him back.”
37. Just then we heard a kind of war-whoop, such as David might have emitted when he knocked out the champion Goliath. It was a sling that Red Chief had pulled out of his pocket, and he was whirling it around his head.
37. Just then we heard a sort of war cry, like what David might have shouted when he took down the champion Goliath. It was a sling that Red Chief had pulled out of his pocket, and he was spinning it around his head.
38. I dodged, and heard a heavy thud and a kind of a sigh from Bill, like a horse gives out when you take his saddle off. A niggerhead rock the size of an egg had caught Bill[Pg 206] just behind the left ear. He loosened himself all over and fell in the fire across the frying pan of hot water for washing the dishes. I dragged him out and poured cold water on his head for half an hour.
38. I dodged and heard a heavy thud and a kind of sigh from Bill, like a horse when you take its saddle off. A rock the size of an egg had hit Bill just behind the left ear. He went completely limp and fell into the fire right across the hot water frying pan for washing the dishes. I pulled him out and poured cold water on his head for half an hour.
39. By and by, Bill sits up and feels behind his ear and says: “Sam, do you know who my favorite Biblical character is?”
39. Eventually, Bill sits up, feels behind his ear, and says, “Sam, do you know who my favorite Bible character is?”
40. “Take it easy,” says I. “You’ll come to your senses presently.”
40. “Just chill,” I say. “You’ll see things clearly soon.”
41. “King Herod,” says he. “You won’t go away and leave me here alone, will you, Sam?”
41. “King Herod,” he says. “You’re not going to leave me here all alone, are you, Sam?”
42. I went out and caught that boy and shook him until his freckles rattled.
42. I went outside and grabbed that kid, shaking him until his freckles shook.
43. “If you don’t behave,” says I, “I’ll take you straight home. Now, are you going to be good, or not?”
43. “If you don’t behave,” I said, “I’ll take you right home. So, are you going to be good, or not?”
44. “I was only funning,” says he sullenly. “I didn’t mean to hurt Old Hank. But what did he hit me for? I’ll behave, Snake-eye, if you won’t send me home, and if you’ll let me play the Black Scout to-day.”
44. “I was just joking,” he says sullenly. “I didn’t mean to hurt Old Hank. But why did he hit me? I’ll be good, Snake-eye, if you won’t send me home, and if you let me play the Black Scout today.”
45. “I don’t know the game,” says I. “That’s for you and Mr. Bill to decide. He’s your playmate for the day. I’m going away for a while, on business. Now, you come in and make friends with him and say you are sorry for hurting him, or home you go, at once.”
45. “I don’t know how to play,” says I. “That’s for you and Mr. Bill to figure out. He’s your buddy for the day. I’m leaving for a bit, on business. Now, you need to go in and befriend him and apologize for hurting him, or you can leave right now.”
46. I made him and Bill shake hands, and then I took Bill aside and told him I was going to Poplar Cove,[Pg 207] a little village three miles from the cave, and find out what I could about how the kidnapping had been regarded in Summit. Also, I thought it best to send a peremptory letter to old man Dorset that day, demanding the ransom and dictating how it should be paid.
46. I had him and Bill shake hands, then I pulled Bill aside and told him I was heading to Poplar Cove, [Pg 207] a small village three miles from the cave, to find out what people in Summit thought about the kidnapping. I also figured it was best to send a firm letter to old man Dorset that day, demanding the ransom and outlining how it should be paid.
47. “You know, Sam,” says Bill, “I’ve stood by you without batting an eye in earthquakes, fire and flood—in poker games, dynamite outrages, police raids, train robberies and cyclones. I never lost my nerve yet till we kidnapped that two-legged skyrocket of a kid. He’s got me going. You won’t leave me long with him, will you, Sam?”
47. “You know, Sam,” says Bill, “I’ve stuck by you without flinching during earthquakes, fires, and floods—in poker games, dynamite explosions, police raids, train robberies, and tornadoes. I’ve never lost my cool until we kidnapped that high-energy kid. He’s got me all worked up. You’re not going to leave me alone with him for long, right, Sam?”
48. “I’ll be back some time this afternoon,” says I. “You must keep the boy amused and quiet till I return. And now we’ll write the letter to old Dorset.”
48. “I’ll be back sometime this afternoon,” I said. “You need to keep the boy entertained and calm until I get back. Now, let’s write the letter to old Dorset.”
49. Bill and I got paper and pencil and worked on the letter while Red Chief, with a blanket wrapped around him, strutted up and down, guarding the mouth of the cave. Bill begged me tearfully to make the ransom fifteen hundred dollars instead of two thousand. “I ain’t attempting,” says he, “to decry the celebrated moral aspect of parental affection, but we’re dealing with humans, and it ain’t human for anybody to give up two thousand dollars for that forty-pound chunk of freckled wildcat. I’m willing to take a chance at fifteen[Pg 208] hundred dollars. You can charge the difference up to me.”
49. Bill and I grabbed some paper and a pencil and started working on the letter while Red Chief, wrapped in a blanket, strutted back and forth, guarding the entrance of the cave. Bill pleaded with me tearfully to make the ransom fifteen hundred dollars instead of two thousand. “I’m not trying,” he said, “to downplay the well-known moral aspect of parental love, but we’re dealing with real people here, and it’s not reasonable for anyone to pay two thousand dollars for that forty-pound bundle of freckled wildcat. I’m willing to take a chance at fifteen hundred dollars. You can put the difference on my tab.”
50. So, to relieve Bill, I acceded, and we collaborated a letter that ran this way:
50. To help Bill out, I agreed, and we worked together on a letter that went like this:
Ebenezer Dorset, Esq.:
Ebenezer Dorset, Esq.
We have your boy concealed in a place far from Summit. It is useless for you or the most skilful detectives to attempt to find him. Absolutely, the only terms on which you can have him restored to you are these: We demand fifteen hundred dollars in large bills for his return; the money to be left at midnight at the same spot and in the same box as your reply—as hereinafter described. If you agree to these terms, send your answer in writing by a solitary messenger to-night at half-past eight o’clock. After crossing Owl Creek, on the road to Poplar Cove, there are three large trees about a hundred yards apart, close to the fence of the wheat field on the right-hand side. At the bottom of the fence-post, opposite the third tree, will be found a small paste-board box.
We have your boy hidden in a place far away from Summit. It's pointless for you or even the best detectives to try to find him. The only way you can get him back is like this: We want fifteen hundred dollars in large bills for his return; the money should be left at midnight at the same spot and in the same box as your reply—as described below. If you agree to these terms, send your response in writing by a single messenger tonight at 8:30 PM. After crossing Owl Creek on the way to Poplar Cove, there are three large trees about a hundred yards apart, near the fence of the wheat field on the right side. At the bottom of the fence post, across from the third tree, you will find a small cardboard box.
The messenger will place the answer in this box and return immediately to Summit.
The messenger will put the answer in this box and head back to Summit right away.
If you attempt any treachery or fail to comply with our demand as stated, you will never see your boy again.
If you try anything dishonest or don’t follow our request as stated, you will never see your boy again.
If you pay the money as demanded, he will be returned to you safe and well within three hours. These terms are final, and if you do not accede to them no further communication will be attempted.
If you pay the requested amount, he will be returned to you safe and sound within three hours. These terms are non-negotiable, and if you do not agree to them, no further communication will occur.
Two Desperate Men.
Two Desperate Guys.
[Pg 209]
[Pg 209]
51. I addressed this letter to Dorset, and put it in my pocket. As I was about to start, the kid comes up to me and says:
51. I wrote this letter to Dorset and put it in my pocket. Just as I was about to leave, the kid comes up to me and says:
52. “Aw, Snake-eye, you said I could play the Black Scout while you was gone.”
52. “Aw, Snake-eye, you said I could be the Black Scout while you were away.”
53. “Play it, of course,” says I. “Mr. Bill will play with you. What kind of a game is it?”
53. “Of course, play it,” I say. “Mr. Bill will join you. What kind of game is it?”
54. “I’m the Black Scout,” says Red Chief, “and I have to ride to the stockade to warn the settlers that the Indians are coming. I’m so tired of playing Indian myself. I want to be the Black Scout.”
54. “I’m the Black Scout,” says Red Chief, “and I need to ride to the stockade to warn the settlers that the Indians are coming. I’m so over playing Indian myself. I want to be the Black Scout.”
55. “All right,” says I. “It sounds harmless to me. I guess Mr. Bill will help you foil the pesky savages.”
55. “Okay,” I said. “That sounds harmless to me. I guess Mr. Bill will help you deal with those annoying savages.”
56. “What am I to do?” says Bill, looking at the kid suspiciously.
56. “What should I do?” Bill says, looking at the kid with suspicion.
57. “You are the hoss,” says Black Scout. “Get down on your hands and knees. How can I ride to the stockade without a hoss?”
57. “You’re the horse,” says Black Scout. “Get down on your hands and knees. How am I supposed to ride to the stockade without a horse?”
58. “You’d better keep him interested,” said I, “till we get the scheme going. Loosen up.”
58. “You should keep him engaged,” I said, “until we get the plan rolling. Relax a little.”
59. Bill gets down on his all fours, and a look comes in his eye like a rabbit’s when you catch it in a trap.
59. Bill drops down on all fours, and a look appears in his eyes like a rabbit's when you catch it in a trap.
60. “How far is it to the stockade, Kid?” he asks, in a husky manner of voice.
60. “How far is it to the stockade, Kid?” he asks, in a raspy voice.
61. “Ninety miles,” says the Black Scout. “And you have to hump yourself to get there on time. Whoa, now!”
61. “Ninety miles,” says the Black Scout. “And you have to carry yourself to get there on time. Whoa, now!”
[Pg 210]
[Pg 210]
62. The Black Scout jumps on Bill’s back and digs his heels in his side.
62. The Black Scout jumps on Bill's back and digs his heels into his side.
63. “For Heaven’s sake,” says Bill, “hurry back, Sam, as soon as you can. I wish we hadn’t made the ransom more than a thousand. Say, you quit kicking me or I’ll get up and warm you good.”
63. “For heaven’s sake,” says Bill, “hurry back, Sam, as soon as you can. I wish we hadn’t set the ransom at more than a thousand. Come on, stop kicking me or I’ll get up and teach you a lesson.”
64. I walked over to Poplar Cove and sat around the post-office and store, talking with the chawbacons that came in to trade. One whiskerando says that he hears Summit is all upset on account of Elder Ebenezer Dorset’s boy having been lost or stolen. That was all I wanted to know. I bought some smoking tobacco, referred casually to the price of black-eyed peas, posted my letter surreptitiously and came away. The postmaster said the mail-carrier would come by in an hour to take the mail on to Summit.
64. I walked over to Poplar Cove and hung out by the post office and store, chatting with the locals who came in to trade. One guy with a big mustache mentioned that Summit is all stirred up because Elder Ebenezer Dorset's son has gone missing or been taken. That was all I needed to know. I picked up some smoking tobacco, casually asked about the price of black-eyed peas, secretly dropped off my letter, and left. The postmaster said the mail carrier would be by in an hour to take the mail to Summit.
65. When I got back to the cave Bill and the boy were not to be found. I explored the vicinity of the cave, and risked a yodel or two, but there was no response.
65. When I returned to the cave, Bill and the boy were nowhere to be found. I searched the area around the cave and even tried yelling a few times, but there was no answer.
66. So I lighted my pipe and sat down on a mossy bank to await developments.
66. So I lit my pipe and sat down on a mossy bank to wait for things to happen.
67. In about half an hour I heard the bushes rustle, and Bill wabbled out into the little glade in front of the cave. Behind him was the kid, stepping softly like a scout, with a broad grin on his face. Bill stopped, took off his hat and wiped his face[Pg 211] with a red handkerchief. The kid stopped about eight feet behind him.
67. After about half an hour, I heard the bushes rustle, and Bill wobbled out into the small clearing in front of the cave. Behind him was the kid, stepping quietly like a scout, with a big grin on his face. Bill stopped, took off his hat, and wiped his face with a red handkerchief. The kid paused about eight feet behind him.[Pg 211]
68. “Sam,” says Bill, “I suppose you’ll think I’m a renegade, but I couldn’t help it. I’m a grown person with masculine proclivities and habits of self-defence, but there is a time when all systems of egotism and predominance fail. The boy is gone. I have sent him home. All is off. There was martyrs in old times,” goes on Bill, “that suffered death rather than give up the particular graft they enjoyed. None of ’em ever was subjugated to such supernatural tortures as I have been. I tried to be faithful to our articles of depredation; but there came a limit.”
68. “Sam,” says Bill, “you might think I’m a traitor, but I couldn’t help it. I’m an adult with typical guy instincts and self-defense habits, but there comes a point when all kinds of selfishness and power trips fall apart. The kid is gone. I’ve sent him home. It’s over. There were martyrs in the past,” Bill continues, “who faced death rather than give up the particular benefits they had. None of them ever went through the kind of supernatural torture I’ve endured. I tried to stick to our agreements on looting, but there was a limit.”
69. “What’s the trouble, Bill?” I asks him.
69. “What’s going on, Bill?” I ask him.
70. “I was rode,” says Bill, “the ninety miles to the stockade, not barring an inch. Then, when the settlers was rescued, I was given oats. Sand ain’t a palatable substitute. And then, for an hour I had to try to explain to him why there was nothin’ in holes, how a road can run both ways and what makes the grass green. I tell you, Sam, a human can only stand so much. I takes him by the neck of his clothes and drags him down the mountain. On the way he kicks my legs black-and-blue from the knees down; and I’ve got to have two or three bites on my thumb and hand cauterized.
70. “I was taken,” says Bill, “the ninety miles to the stockade, not missing a single inch. Then, when the settlers were rescued, I got oats. Sand isn’t a tasty alternative. And then, for an hour, I had to try to explain to him why there was nothing in holes, how a road can go both ways, and what makes the grass green. I tell you, Sam, a person can only take so much. I grab him by the collar and drag him down the mountain. On the way, he kicks my legs black-and-blue from the knees down; and I need to have two or three bites on my thumb and hand cauterized.
[Pg 212]
[Pg 212]
71. “But he’s gone”—continues Bill—“gone home. I showed him the road to Summit and kicked him about eight feet nearer there at one kick. I’m sorry we lose the ransom; but it was either that or Bill Driscoll to the madhouse.”
71. “But he’s gone,” Bill continues. “He’s gone home. I showed him the way to Summit and kicked him about eight feet closer with one kick. I’m sorry we’re losing the ransom; but it was either that or Bill Driscoll ending up in a mental hospital.”
72. Bill is puffing and blowing but there is a look of ineffable peace and growing content on his rose-pink features.
72. Bill is panting and out of breath, but there’s an expression of indescribable peace and increasing contentment on his rosy face.
73. “Bill,” says I, “there isn’t any heart disease in your family, is there?”
73. “Bill,” I said, “there’s no heart disease in your family, right?”
74. “No,” says Bill, “nothing chronic except malaria and accidents. Why?”
74. “No,” says Bill, “nothing ongoing except malaria and accidents. Why?”
75. “Then you might turn around,” says I, “and have a look behind you.”
75. “Then you could turn around,” I said, “and take a look behind you.”
76. Bill turns and sees the boy, and loses his complexion and sits down plump on the ground and begins to pluck aimlessly at grass and little sticks. For an hour I was afraid for his mind. Straight delineation. The former is the better art. And then I told him that my scheme was to put the whole job through immediately and that we would get the ransom and be off with it by midnight if old Dorset fell in with our proposition. So Bill braced Plot Situation. up enough to give the kid a weak sort of a smile and a promise to play the Russian in a Japanese war with him as soon as he felt a little better.
76. Bill turns and sees the boy, and his face goes pale. He sits down heavily on the ground and starts to mindlessly pick at the grass and small sticks. For an hour, I was worried about his mental state. Clear definition. The first one is the superior art. Then I told him my plan was to finish the whole job right away, and that we would get the ransom and be gone by midnight if old Dorset agreed to our proposal. So Bill managed to muster enough strength to give the kid a weak smile and promised to play Russians in a Japanese war with him as soon as he felt a bit better.
77. I had a scheme for collecting that ransom without danger of being caught by counterplots that ought to commend itself to professional kidnappers. The tree under which the[Pg 213] answer was to be left—and the money later on—was close to the road fence with big, bare fields on all sides. If a gang of constables should be watching for any one to come for the note they could see him a long way off crossing the fields or in the road. But no sirree! At half-past eight I was up in that tree as well hidden as a tree toad, waiting for the messenger to arrive.
77. I had a plan for collecting that ransom without the risk of getting caught by any counterplots that should appeal to professional kidnappers. The tree where the answer was to be left—and the money afterward—was right by the road fence, surrounded by large, open fields. If a group of officers were watching for someone to come for the note, they could spot him from far away crossing the fields or on the road. But no way! At half-past eight, I was up in that tree, as hidden as a tree frog, waiting for the messenger to arrive.
78. Exactly on time, a half-grown boy rides up the road on a bicycle, locates the paste-board box at the foot of the fence-post, slips a folded piece of paper into it and pedals away again back toward Summit.
78. Right on schedule, a young boy rides up the road on a bike, finds the cardboard box at the bottom of the fence post, puts a folded piece of paper inside it, and then pedals back toward Summit.
79. I waited an hour and then concluded the thing was square. I slid down the tree, got the note, slipped along the fence till I struck the woods, and was back at the cave in another half an hour. I opened the note, got near the lantern and read it to Bill. It was written with a pen in a crabbed hand, and the sum and substance of it was this:
79. I waited for an hour and then figured things were clear. I climbed down the tree, grabbed the note, crept along the fence until I reached the woods, and made it back to the cave in another half hour. I opened the note, got close to the lantern, and read it to Bill. It was written with a pen in a messy hand, and the main point of it was this:
Two Desperate Men.
Two Struggling Men.
Gentlemen: I received your letter to-day by post, in regard to the ransom you ask for the return of my son. I think you are a little high in your demands, and I hereby make you a counter-proposition, which I am inclined to believe you will accept. You bring Johnny home and pay me two hundred and fifty dollars in cash, and I agree to take him off your hands. Climax.You had better come at night for the neighbors believe he is [Pg 214] lost, and I couldn’t be responsible for what they would do to anybody they saw bringing him back.
Gentlemen, I received your letter today regarding the ransom you are asking for the return of my son. I think your demands are a bit steep, so I’d like to make you a counter-offer that I believe you’ll find reasonable. You bring Johnny home and pay me two hundred and fifty dollars in cash, and I’ll agree to take him back. Climax. You should come at night because the neighbors think he is lost, and I can’t be responsible for what they might do to anyone they see bringing him back. [Pg 214]
Very respectfully,
Best regards,
Ebenezer Dorset.
Ebenezer Dorset.
80. “Great pirates of Penzance!” says I, “of all the impudent—”
80. “Great pirates of Penzance!” I said, “of all the bold—”
81. But I glanced at Bill, and hesitated. He had the most appealing look in his eyes I ever saw on the face of a dumb or a talking brute.
81. But I looked at Bill and hesitated. He had the most captivating expression in his eyes that I had ever seen on the face of either a dumb animal or a talking one.
82. “Sam,” says he, “what’s two hundred and fifty dollars, after all? We’ve got the money. One more night of this kid will send me to a bed in Bedlam. Besides being a thorough gentleman, I think Mr. Dorset is a spendthrift for making us a liberal offer. You ain’t going to let the chance go, are you?”
82. “Sam,” he says, “what’s two hundred and fifty bucks, really? We have the money. One more night with this kid will drive me crazy. Besides being a real gentleman, I think Mr. Dorset is foolish for making us such a generous offer. You’re not going to pass up this opportunity, are you?”
83. “Tell you the truth, Bill,” says I, “this little he ewe lamb has somewhat got on my nerves, too. We’ll take him home, pay the ransom, and make our get-away.”
83. “To be honest, Bill,” I say, “this little ewe lamb is getting on my nerves, too. We’ll take him home, pay the ransom, and make our escape.”
84. We took him home that night. We got him to go by telling him that his father had bought a silver-mounted rifle and a pair of moccasins for him, and we were going to hunt bears the next day.
84. We brought him home that night. We convinced him to come by saying that his dad had bought him a silver-mounted rifle and a pair of moccasins, and we were going to go bear hunting the next day.
85. It was just twelve o’clock when we knocked at Ebenezer’s front door. Just at the moment when I should have been abstracting the fifteen hundred dollars from the box under the Contrasting Plot Situation—Summary of the plot-outcome. tree, according to the original proposition, Bill was counting out two hundred and fifty dollars into Dorset’s hand.
85. It was exactly twelve o’clock when we knocked on Ebenezer’s front door. Just when I should have been taking the fifteen hundred dollars from the box under the Contrasting Plot Situation—Overview of the plot outcome. tree, as originally planned, Bill was handing two hundred and fifty dollars to Dorset.
86. When the kid found out we were going to leave him at home he started up a howl like a calliope and fastened himself as tight as a leech to Bill’s leg. His father peeled him away gradually, like a porous plaster.
86. When the kid found out we were going to leave him at home, he started wailing like a calliope and clung to Bill’s leg as tightly as a leech. His father pulled him away slowly, like removing a sticky bandage.
87. “How long can you hold him?” asks Bill.
87. “How long can you keep him?” asks Bill.
88. “I’m not as strong as I used to be,” says old Dorset. “But I think I can promise you ten minutes.”
88. “I’m not as strong as I used to be,” says old Dorset. “But I think I can promise you ten minutes.”
89. “Enough,” says Bill. “In ten minutes I shall cross the Central, Southern and Middle Western States, and be legging it trippingly for the Canadian border.”
89. “Enough,” says Bill. “In ten minutes, I’ll cross the Central, Southern, and Midwestern States, and be quickly making my way to the Canadian border.”
90. And, as dark as it was, and as fat as Bill was, and as good a runner as I am, he was a good mile and half out of Summit before I could catch up with him.
90. And, even though it was really dark, and Bill was pretty hefty, and I’m a decent runner, he was a good mile and a half out of Summit before I could catch up with him.
[Pg 215]
[Pg 215]
BARRIE AND HIS WRITINGS
James Matthew Barrie was born at Kirriemuir (“Thrums”), Scotland, on the 9th of May, 1860. He is the son of a physician, whom he has lovingly embodied as “Dr. McQueen”; his mother and sister also will live as “Jess” and “Leeby.” He was educated at Dumfries Academy, entering the University of Edinburgh at eighteen, from which he was graduated in 1882 with the degree of M.A., taking honors in English literature. He began writing literary criticisms for the Edinburgh Courant[Pg 216] at this period. Several months after his graduation Barrie took a position on a Nottingham newspaper, leaving that city for London in 1885, where his literary career commenced in earnest; but success did not come until after the customary struggles and hindrances to which young literary aspirants are ever subject. In 1893 he married Miss Ansell, an actress, whom he divorced in 1909. Some of his best-known books are Auld Licht Idylls; A Window in Thrums; Margaret Ogilvy; My Lady Nicotine; The Little Minister (afterwards dramatized); Sentimental Tommy; Tommy and Grizel (a sequel), and The Little White Bird. He also wrote several plays, the most notable of which are The Professor’s Love Story; Peter Pan (a partial dramatization of The Little White Bird); Quality Street; and What Every Woman Knows. It is interesting to note that Mr. Barrie did not succeed in securing the magazine publication of “The Courting of T’Nowhead’s Bell,” which is given herewith; it was first issued between book covers, in 1888.
James Matthew Barrie was born in Kirriemuir (“Thrums”), Scotland, on May 9, 1860. He is the son of a physician, whom he has affectionately portrayed as “Dr. McQueen”; his mother and sister are represented as “Jess” and “Leeby.” He was educated at Dumfries Academy and entered the University of Edinburgh at eighteen, graduating in 1882 with an M.A. degree, with honors in English literature. During this time, he began writing literary critiques for the Edinburgh Courant[Pg 216]. A few months after graduating, Barrie took a job with a Nottingham newspaper before moving to London in 1885, where he seriously began his literary career; however, success didn’t come until after the usual struggles that young writers often face. In 1893, he married actress Miss Ansell, but they divorced in 1909. Some of his most famous books include Auld Licht Idylls; A Window in Thrums; Margaret Ogilvy; My Lady Nicotine; The Little Minister (which was later dramatized); Sentimental Tommy; Tommy and Grizel (a sequel); and The Little White Bird. He also wrote several plays, the most notable being The Professor’s Love Story; Peter Pan (a partial adaptation of The Little White Bird); Quality Street; and What Every Woman Knows. It's interesting to note that Mr. Barrie was unable to get “The Courting of T’Nowhead’s Bell” published in a magazine, which is included here; it was first published in book form in 1888.
Barrie is a versatile story-teller, though he deals mostly with Scotch characters. His early work exhibits his short-story ability at its best. The warm human interest of A Window in Thrums and Auld Licht Idylls, is matched only by Ian Maclaren’s Beside the Bonnie Briar Bush and The Days of Auld Lang Syne. A quaint character-humor, with swift flashes of pathos, pervades all his work, which for local-color and insight into the character of the Scotch rural dweller has won a place of[Pg 217] distinction among the stories of present-day writers. With Barrie, realism is rarely unpleasant; he sees all things with a gentle eye. Even when in his keen ability to penetrate to the heart of things he discovers the weaknesses of humanity, he also finds redeeming virtues. Thus his characters are continually disclosing their true natures underneath the garb and custom of picturesque life, and we feel ourselves to be kin to them, every one. His dialect in itself is masterly and often deliciously humorous, so that actions and dialogue in themselves common-place take on an extraordinary interest. No modern writer has a greater gift of character-drawing, and none is more sympathetically human in his interpretations of the Scotch commoner.
Barrie is a versatile storyteller, primarily focused on Scottish characters. His early work showcases his short-story talent at its best. The warm human touch of A Window in Thrums and Auld Licht Idylls can only be matched by Ian Maclaren’s Beside the Bonnie Briar Bush and The Days of Auld Lang Syne. A charming blend of humor and quick flashes of emotion runs through all his work, which, thanks to its local color and insight into the lives of Scottish rural dwellers, has earned a distinguished place among contemporary writers’ stories. With Barrie, realism is rarely unpleasant; he views everything through a gentle lens. Even when his keen ability exposes humanity’s flaws, he also uncovers redeeming qualities. As a result, his characters continuously reveal their true selves beneath the colorful customs of picturesque life, making us feel a connection with each of them. His use of dialect is masterful and often delightfully humorous, turning even ordinary actions and dialogues into something extraordinarily interesting. No modern writer excels more at creating characters, and none interprets the Scottish commoner with such empathetic humanity.
It is my contemptible weakness that if I say a character smiled vacuously, I must smile vacuously; if he frowns or leers, I frown or leer; if he is a coward or given to contortions, I cringe, or twist my legs until I have to stop writing to undo the knot. I bow with him, eat with him, and gnaw my moustache with him. If the character be a lady with an exquisite laugh, I suddenly terrify you by laughing exquisitely. One reads of the astounding versatility of an actor who is stout and lean on the same evening, but what is he to the novelist who is a dozen persons within the hour?—J. M. Barrie, Margaret Ogilvy.
It’s my ridiculous weakness that if I say a character smiled blankly, I have to smile blankly; if he frowns or grins lewdly, I frown or grin too; if he’s a coward or starts twisting around, I cringe or twist my legs until I have to stop writing to untangle them. I bow with him, eat with him, and nervously fiddle with my mustache along with him. If the character is a lady with a beautiful laugh, I unexpectedly scare you by laughing beautifully too. One hears about the amazing talent of an actor who can be both stout and lean in the same night, but what is he compared to the novelist who becomes a dozen different people in an hour?—J.M. Barrie, Margaret Ogilvy.
There are writers who can plan out their story beforehand as clearly as though it were a railway journey, and adhere throughout to their original design—they draw up what playwrights call a scenario—but I was never one of those. I spend a great deal of time indeed in looking for the best road in the map and mark it with red ink, but at the first bypath off my characters go. “Come back,” I cry, “you are off the road.” “We prefer this way,” they reply. I try bullying. “You are only people in a book,” I shout, “and it is my book, and I can do what I like[Pg 218] with you, so come back!” But they seldom come, and it ends with my plodding after them.—J. M. Barrie, Introduction to When a Man’s Single.
There are writers who can plan their story in advance as clearly as a train route and stick to their original outline—they create what playwrights call a scenario—but I’ve never been one of those. I spend a lot of time searching for the best path on the map and marking it in red ink, but as soon as I hit a side road, my characters wander off. “Come back,” I shout, “you’re off the path.” “We prefer this way,” they respond. I try to assert my authority. “You’re just characters in a book,” I yell, “and this is my book, so I can do whatever I want with you, so come back!” But they rarely listen, and it usually ends with me trudging after them.—J.M. Barrie, Introduction to When a Man’s Single.[Pg 218]
The chief features of Barrie’s style are a quaintness of expression, a simple directness of narrative, and an unfailing sense of humor—often as though the author were chuckling to himself as he wrote. His gift for descriptive writing—probably the best test of “style”—is very marked, though he makes little of it.—J. A. Hammerton, J. M. Barrie and His Books.
The main characteristics of Barrie’s style are a charming way of expressing ideas, a straightforward narrative, and a constant sense of humor—it's almost like the author is laughing to himself as he writes. His talent for descriptive writing—likely the best measure of “style”—is quite evident, even though he doesn’t emphasize it much. —J.A. Hammerton, J. M. Barrie and His Books.
Auld Licht Idylls is a set of regular descriptions of the life of “Thrums,” with special reference to the ways and character of the “Old Lights,” the stubborn conservative Scotch Puritans; it contains also a most amusing and characteristic love story of the sect (“The Courting of T’Nowhead’s Bell”), and a satiric political skit.—Charles Dudley Warner’s Library of the World’s Best Literature.
Auld Licht Idylls is a collection of detailed accounts of life in “Thrums,” focusing on the customs and personality of the “Old Lights,” the stubborn, conservative Scottish Puritans. It also features a humorous and typical love story from the sect (“The Courting of T’Nowhead’s Bell”) and a satirical political sketch.—Charles Dudley Warner's Library of the World’s Best Literature.
By the time “Auld Licht Idylls” appeared, he had achieved a reputation,—at least a local one. This book had an immediate success, and ran rapidly through several editions. His mother had been an Auld Licht in her youth.... Mrs. Barrie, knowing them from the inside, could tell all sorts of quaint and marvellous tales about them, whose humor was sure to please. It was from her stories that the Idylls were mainly drawn, so she was in a sense a collaborator with her son in their production.—Hattie T. Griswold, Personal Sketches of Recent Authors.
By the time “Auld Licht Idylls” was published, he had built a reputation—at least a local one. This book was an instant success, quickly going through several editions. His mother had been an Auld Licht in her younger days. Mrs. Barrie, having firsthand experience, could share all kinds of charming and incredible stories about them, which were sure to entertain. Most of the Idylls were based on her stories, so in a way, she collaborated with her son on their creation.—Hattie T. Griswold, Personal Sketches of Recent Authors.
As a literary artist he belongs in the foremost rank. He has that sense of the typical in incident, of the universal in feeling, and of the suggestive in language, which mark the chiefs of letters. No one can express an idea with fewer strokes; he never expands a sufficient hint into an essay. His management of the Scotch dialect is masterly: he uses it sparingly, in the nearest form to English compatible with retaining the flavor; he never makes it so hard as to interfere with enjoyment; in few dialect writers do we feel so little alienness.—Charles Dudley Warner’s Library of the World’s Best Literature.
As a writer, he ranks among the best. He has an instinct for what’s typical in events, what's universal in emotions, and what's evocative in language, which are traits of great authors. No one can express an idea with fewer words; he never turns a simple suggestion into a lengthy essay. His use of the Scottish dialect is exceptional: he employs it sparingly, in a form that is closest to English while still keeping its essence; he never makes it so complicated that it detracts from enjoyment; in few dialect writers do we feel so little distance. —Charles Dudley Warner’s Library of the World’s Best Literature.
FURTHER REFERENCES FOR READING ON BARRIE
FURTHER REFERENCES FOR READING ON BARRIE
My Contemporaries in Fiction, by J. D. C. Murray (1897); Theology of Modern Literature, by S. Law Wilson (1899); Fame and Fiction, by E. A. Bennett (1901); J. M. Barrie and His Books, by J. A. Hammerton (1902).
My Contemporaries in Fiction, by J. D. C. Murray (1897); Theology of Modern Literature, by S. Law Wilson (1899); Fame and Fiction, by E. A. Bennett (1901); J. M. Barrie and His Books, by J. A. Hammerton (1902).
[Pg 219]
[Pg 219]
FOR ANALYSIS
FOR ANALYSIS
THE COURTING OF T’NOWHEAD’S BELL
BY JAMES MATTHEW BARRIE
BY J.M. BARRIE
For two years it had been notorious in the square that Sam’l Dickie was thinking of courting T’Nowhead’s Bell, and that if little Sanders Elshioner (which is the Thrums pronunciation of Alexander Alexander) went in for her he might prove a formidable rival. Sam’l was a weaver in the Tenements, and Sanders a coal-carter whose trade-mark was a bell on his horse’s neck that told when coals were coming. Being something of a public man, Sanders had not so high a social position as Sam’l, but he had succeeded his father on the coal-cart, while the weaver had already tried several trades. It had always been against Sam’l, too, that once when the kirk was vacant he had advised the selection of the third minister who preached for it on the ground that it came expensive to pay a large number of candidates.[Pg 220] The scandal of the thing was hushed up, out of respect for his father, who was a God-fearing man, but Sam’l was known by it in Lang Tammas’ circle. The coal-carter was called Little Sanders to distinguish him from his father, who was not much more than half his size. He had grown up with the name, and its inapplicability now came home to nobody. Sam’l’s mother had been more far-seeing than Sanders’. Her man had been called Sammy all his life because it was the name he got as a boy, so when their eldest son was born she spoke of him as Sam’l while still in his cradle. The neighbours imitated her, and thus the young man had a better start in life than had been granted to Sammy, his father.
For two years, everyone in the square knew that Sam’l Dickie was thinking about pursuing T’Nowhead’s Bell, and that if little Sanders Elshioner (which is how they say Alexander Alexander in Thrums) went after her, he could be a tough competitor. Sam’l was a weaver living in the Tenements, while Sanders was a coal-carter whose horse wore a bell to signal the arrival of coal. Although Sanders was something of a local figure, he didn't have as high a social standing as Sam’l, but he had taken over his father’s coal-cart business, while the weaver had tried his hand at several different jobs. It had also worked against Sam’l that, during a vacancy at the church, he suggested they choose the third minister who preached there, arguing it was expensive to pay a large number of candidates. The scandal was kept quiet out of respect for his father, a devout man, but Sam’l was known for it in Lang Tammas’ circle. The coal-carter was called Little Sanders to differentiate him from his father, who was only about half his size. He had grown up with that name, and nobody thought about its inappropriateness anymore. Sam’l’s mother had a better vision for her son than Sanders’ mother had for him. Her husband had been called Sammy all his life because that was the name he was given as a boy, so when their oldest son was born, she referred to him as Sam’l even while he was still in his crib. The neighbors picked up on this, giving the young man a better start in life than what was given to Sammy, his father.
2. It was Saturday evening—the night in the week when Auld Licht young men fell in love. Sam’l Dickie, wearing a blue glengarry bonnet with a red ball on the top, came to the door of a one-story house in the Tenements and stood there wriggling, for he was in a suit of tweeds for the first time that week, and did not feel at one in them. When his feeling of being a stranger to himself wore off, he looked up and down the road, which straggles between houses and gardens, and then, picking his way over the puddles, crossed to his father’s henhouse and sat down on it. He was now on his way to the square.
2. It was Saturday evening—the night of the week when young men in Auld Licht fell in love. Sam’l Dickie, wearing a blue glengarry hat with a red pom-pom on top, came to the door of a one-story house in the Tenements and stood there fidgeting, since it was the first time that week he was in a suit of tweeds, and he didn't quite feel comfortable in them. Once his feeling of being a stranger to himself faded, he looked up and down the road, which meanders between houses and gardens, and then, carefully stepping over the puddles, crossed to his father’s henhouse and sat down on it. He was now on his way to the square.
3. Eppie Fargus was sitting on an[Pg 221] adjoining dike knitting stockings, and Sam’l looked at her for a time.
3. Eppie Fargus was sitting on an[Pg 221] adjoining dike knitting stockings, and Sam’l watched her for a while.
4. “Is’t yersel, Eppie?” he said at last.
4. “Is it really you, Eppie?” he finally said.
5. “It’s a’ that,” said Eppie.
"That's true," Eppie said.
6. “Hoo’s a’ wi’ ye?” asked Sam’l.
6. “Who’s with you?” asked Sam.
7. “We’re juist aff an’ on,” replied Eppie cautiously.
7. “We just came off and on,” replied Eppie cautiously.
8. There was not much more to say, but as Sam’l sidled off the henhouse he murmured politely, “Ay, ay.” In another minute he would have been fairly started, but Eppie resumed the conversation.
8. There wasn’t much more to say, but as Sam’l sneaked away from the henhouse, he politely mumbled, “Yeah, yeah.” In another minute, he would have been on his way, but Eppie picked up the conversation again.
9. “Sam’l,” she said, with a twinkle in her eye, “ye can tell Lisbeth Fargus I’ll likely be drappin’ in on her aboot Munday or Teisday.”
9. “Sam,” she said, with a sparkle in her eye, “you can tell Lisbeth Fargus I’ll probably be dropping in on her around Monday or Tuesday.”
10. Lisbeth was sister to Eppie, and wife of Tammas McQuhatty, better known as T’Nowhead, which was the name of his farm. She was thus Bell’s mistress.
10. Lisbeth was Eppie's sister and the wife of Tammas McQuhatty, more commonly known as T’Nowhead, which was the name of his farm. So, she was Bell’s mistress.
11. Sam’l leaned against the henhouse as if all his desire to depart had gone.
11. Sam leaned against the henhouse as if all his desire to leave had disappeared.
12. “Hoo d’ye kin I’ll be at the T’Nowhead the nicht?” he asked, grinning in anticipation.
12. “How do you think I'll be at the T'Nowhead tonight?” he asked, grinning in anticipation.
13. “Ou, I’se warrant ye’ll be after Bell,” said Eppie.
13. “Oh, I’m sure you’re going to see Bell,” said Eppie.
14. “Am no sure o’ that,” said Sam’l, trying to leer. He was enjoying himself now.
14. “I’m not so sure about that,” said Sam, attempting to wink. He was having a good time now.
15. “Am no sure o’ that,” he repeated, for Eppie seemed lost in stitches.
15. “I’m not so sure about that,” he said again, since Eppie looked completely absorbed in her sewing.
16. “Sam’l—”
“Sam—”
17. “Ay.”
"Yeah."
[Pg 222]
[Pg 222]
18. “Ye’ll be spierin’ her sune noo, I dinna doot?”
18. “You'll be asking her soon, I don't doubt?”
19. This took Sam’l, who had only been courting Bell for a year or two, a little aback.
19. This surprised Sam’l, who had only been dating Bell for a year or two.
20. “Hoo d’ye mean, Eppie?” he asked.
20. "What do you mean, Eppie?" he asked.
21. “Maybe ye’ll do’t the nicht.”
21. “Maybe you'll do it tonight.”
22. “Na, there’s nae hurry,” said Sam’l.
22. “No, there’s no rush,” said Sam.
23. “Weel, we’re a’ coontin’ on’t, Sam’l.”
23. “Well, we’re all counting on it, Sam.”
24. “Gae wa wi’ ye.”
"Go away with you."
25. “What for no?”
25. “Why not?”
26. “Gae wa wi’ ye,” said Sam’l again.
26. “Go away with you,” said Sam’l again.
27. “Bell’s gie an’ fond o’ ye, Sam’l.”
27. “Bell's really into you, Sam'l.”
28. “Ay,” said Sam’l.
28. “Yeah,” said Sam’l.
29. “But am dootin’ ye’re a fell billy wi’ the lasses.”
29. “But I doubt you’re a real player with the girls.”
30. “Ay, oh, I d’na kin, moderate, moderate,” said Sam’l, in high delight.
30. “Oh yes, I don’t know, take it easy, take it easy,” said Sam’l, feeling really happy.
31. “I saw ye,” said Eppie, speaking with a wire in her mouth, “gaein’ on terr’ble wi’ Mysy Haggart at the pump last Saturday.”
31. “I saw you,” Eppie said, talking with a wire in her mouth, “going on terribly with Mysy Haggart at the pump last Saturday.”
32. “We was juist amoosin’ oorsels,” said Sam’l.
32. “We were just having a good time,” said Sam.
33. “It’ll be nae amoosement to Mysy,” said Eppie, “gin ye brak her heart.”
33. "It won't be any fun for Mysy," said Eppie, "if you break her heart."
34. “Losh, Eppie,” said Sam’l, “I didna think o’ that.”
34. “Wow, Eppie,” said Sam, “I didn’t think of that.”
35. “Ye maun kin weel, Sam’l, 'at there’s mony a lass wid jump at ye.”
35. “You must know well, Sam’l, that there are many girls who would jump at the chance with you.”
36. “Ou, weel,” said Sam’l, implying[Pg 223] that a man must take these things as they come.
36. “Well,” said Sam’l, suggesting[Pg 223] that a person has to deal with things as they happen.
37. “For ye’re a dainty chield to look at, Sam’l.”
37. “You’re a pretty kid to look at, Sam.”
38. “Do ye think so, Eppie? Ay, ay; oh, I d’na kin am onything by the ordinar.”
38. “Do you think so, Eppie? Yeah, yeah; oh, I don’t really know anything out of the ordinary.”
39. “Ye mayna be,” said Eppie, “but lasses doesna do to be ower partikler.”
39. “You might not be,” said Eppie, “but girls shouldn't be too particular.”
40. Sam’l resented this, and prepared to depart again.
40. Sam felt bitter about this and got ready to leave again.
41. “Ye’ll no tell Bell that?” he asked anxiously.
41. "You won't tell Bell that?" he asked nervously.
42. “Tell her what?”
"Tell her what now?"
43. “Aboot me an’ Mysy.”
"A bit about me and Mysy."
44. “We’ll see hoo ye behave yersel, Sam’l.”
44. “We’ll see how you behave yourself, Sam’l.”
45. “No 'at I care, Eppie; ye can tell her gin ye like. I widna think twice o’ tellin’ her mysel.”
45. “I don’t care, Eppie; you can tell her if you want. I wouldn’t think twice about telling her myself.”
46. “The Lord forgie ye for leein’, Sam’l,” said Eppie, as he disappeared down Tammy Tosh’s close. Alley, or court. Here he came upon Henders Webster.
46. “The Lord forgive you for lying, Sam’l,” said Eppie, as he disappeared down Tammy Tosh’s alley. Alley or courtyard. Here he ran into Henders Webster.
47. “Ye’re late, Sam’l,” said Henders.
47. “You’re late, Sam,” said Henders.
48. “What for?”
"Why?"
49. “Ou, I was thinkin’ ye wid be gaen the length o’ T’Nowhead the nicht, an’ I saw Sanders Elshioner makkin’s wy there an oor syne.”
49. “Oh, I was thinking you would be going the length of T’Nowhead tonight, and I saw Sanders Elshioner making his way there an hour ago.”
50. “Did ye?” cried Sam’l, adding craftily, “but it’s naething to me.”
50. “Did you?” shouted Sam’l, adding cleverly, “but it’s nothing to me.”
51. “Tod, lad,” said Henders, “gin ye dinna buckle to, Sanders’ll be carryin’ her off.”
51. “Hey, Tod,” said Henders, “if you don’t step up, Sanders is going to take her away.”
52. Sam’l flung back his head and passed on.
52. Sam’l tossed his head back and walked on.
[Pg 224]
[Pg 224]
53. “Sam’l!” cried Henders after him.
53. “Sam!” Henders shouted after him.
54. “Ay,” said Sam’l, wheeling round.
54. “Yeah,” said Sam, turning around.
55. “Gie Bell a kiss frae me.”
55. “Give Bell a kiss from me.”
56. The full force of this joke struck neither all at once. Sam’l began to smile at it as he turned down the school-wynd, and it came upon Henders while he was in his garden feeding his ferret. Then he slapped his legs gleefully, and explained the conceit to Will’um Byars, who went into the house and thought it over.
56. The complete impact of this joke didn’t hit everyone at once. Sam started to smile at it as he walked down the school path, and it dawned on Henders while he was in his garden feeding his ferret. Then he joyfully slapped his legs and explained the joke to Will'um Byars, who went into the house and mulled it over.
57. There were twelve or twenty little groups of men in the square, which was lit by a flare of oil suspended over a cadger’s cart. Now and again a staid young woman passed through the square with a basket on her arm, and if she had lingered long enough to give them time, some of the idlers would have addressed her. As it was, they gazed after her, and then grinned to each other.
57. There were twelve or twenty small groups of men in the square, lit by an oil flare hanging above a vendor's cart. Every now and then, a serious young woman walked through the square with a basket on her arm, and if she had stayed long enough, some of the onlookers would have talked to her. As it was, they watched her leave, then exchanged grins.
58. “Ay, Sam’l,” said two or three young men as Sam’l joined them beneath the town clock.
58. “Yeah, Sam,” said a couple of young guys as Sam joined them under the town clock.
59. “Ay, Davit,” replied Sam’l.
“Yeah, Davit,” replied Sam’l.
60. This group was composed of some of the sharpest wits in Thrums, and it was not to be expected that they would let this opportunity pass. Perhaps when Sam’l joined them he knew what was in store for him.
60. This group was made up of some of the smartest people in Thrums, and it was unlikely they would let this opportunity slip by. Maybe when Sam’l joined them, he knew what was coming.
61. “Was ye lookin’ for T’Nowhead’s Bell, Sam’l?” asked one.
61. “Were you looking for T’Nowhead’s Bell, Sam?” asked one.
62. “Or mebbe ye was wantin’ the minister?” suggested another, the[Pg 225] same who had walked out twice with Christy Duff and not married her after all.
62. “Or maybe you were looking for the minister?” suggested another, the[Pg 225] same one who had walked out twice with Christy Duff and never married her after all.
63. Sam’l could not think of a good reply at the moment, so he laughed good-naturedly.
63. Sam couldn't think of a good response at the moment, so he laughed kindly.
64. “Ondoobtedly she’s a snod bit crittur,” said Davit archly.
64. “Without a doubt, she’s a pretty little thing,” said Davit playfully.
65. “An’ michty clever wi’ her fingers,” added Jamie Deuchars.
65. “And really clever with her hands,” added Jamie Deuchars.
66. “Man, I’ve thocht o’ makkin’ up to Bell mysel,” said Peter Ogle. “Wid there be ony chance, think ye, Sam’l?”
66. “Man, I’ve thought about making a move on Bell myself,” said Peter Ogle. “Do you think there’s any chance, Sam?”
67. “I’m thinkin’ she widna hae ye for her first, Pete,” replied Sam’l, in one of those happy flashes that come to some men, “but there’s nae sayin’ but what she micht tak ye to finish up wi’.”
67. “I don’t think she would have you as her first, Pete,” replied Sam, in one of those bursts of insight that some men have, “but there’s no telling that she might not take you to wrap things up.”
68. The unexpectedness of this sally startled everyone. Though Sam’l did not set up for a wit, however, like Davit, it was notorious that he could say a cutting thing once in a way.
68. The surprise of this outburst shocked everyone. Even though Sam’l didn’t try to be funny like Davit, it was well-known that he could deliver a sharp remark every now and then.
69. “Did ye ever see Bell reddin’ up?” asked Pete, recovering from his overthrow. He was a man who bore no malice.
69. “Have you ever seen Bell getting ready?” asked Pete, picking himself up from his fall. He was a man who held no grudges.
70. “It’s a sicht,” said Sam’l solemnly.
70. “It’s a sight,” said Sam solemnly.
71. “Hoo will that be?” asked Jamie Deuchars.
71. “Who will that be?” asked Jamie Deuchars.
72. “It’s well worth yer while,” said Pete, “to ging atower to the T’Nowhead an’ see. Ye’ll mind the closed-in beds i’ the kitchen? Ay, well, they’re a fell spoilt crew, [Pg 226] T’Nowhead’s litlins, an’ no that aisy to manage. Little ones. Th’ither lasses Lisbeth’s hae’n had a michty trouble wi’ them. When they war i’ the middle o’ their reddin’ up the bairns wid come tumlin’ about the floor, but, sal, I assure ye, Bell didna fash lang wi’ them. Did she, Sam’l?”
72. “It’s totally worth your time,” said Pete, “to head over to the T’Nowhead and check it out. Remember the cramped beds in the kitchen? Yeah, well, they’re a really spoiled bunch, those kids from T’Nowhead, and they’re not that easy to handle. The other girls, including Lisbeth, have had a huge struggle with them. When they were in the middle of cleaning up, the kids would come tumbling around the floor, but honestly, I can assure you, Bell didn’t bother with them for long. Did she, Sam’l?” [Pg 226] Kids.
73. “She did not,” said Sam’l, dropping into a fine mode of speech to add emphasis to his remark.
73. “She didn’t,” said Sam, switching to a more formal way of speaking to emphasize his point.
74. “I’ll tell ye what she did,” said Pete to the others. “She juist lifted up the litlins, twa at a time, an’ flung them into the coffin-beds. Syne she snibbit the doors on them, an’ keepit them there till the floor was dry.”
74. “I’ll tell you what she did,” said Pete to the others. “She just picked up the little ones, two at a time, and threw them into the coffin beds. Then she closed the doors on them and kept them there until the floor was dry.”
75. “Ay, man, did she so?” said Davit admiringly.
75. “Oh, really? Did she?” said Davit, impressed.
76. “I’ve seen her do’t mysel,” said Sam’l.
76. “I’ve seen her do it myself,” said Sam’l.
77. “There’s no a lassie makes better bannocks this side o’ Fetter Lums,” continued Pete.
77. “There’s no girl who makes better bannocks this side of Fetter Lums,” continued Pete.
78. “Her mither tocht her that,” said Sam’l; “she was a gran’ han’ at the bakin’, Kitty Ogilvy.”
78. “Her mom taught her that,” said Sam’l; “she was really good at baking, Kitty Ogilvy.”
79. “I’ve heard say,” remarked Jamie, putting it this way, so as not to tie himself down to anything, “'at Bell’s scones is equal to Mag Lunan’s.”
79. “I’ve heard,” Jamie said, phrasing it this way to avoid committing to anything, “that Bell’s scones are just as good as Mag Lunan’s.”
80. “So they are,” said Sam’l, almost fiercely.
80. “Yeah, they are,” said Sam, almost fiercely.
81. “I kin she’s a neat han’ at singein’ a hen,” said Pete.
81. “I know she’s really good at roasting a chicken,” said Pete.
82. “An’ wi’t a’,” said Davit, “she’s[Pg 227] a snod, canty bit stocky in her Sabbath claes.”
82. “And with all that,” said Davit, “she’s a pretty, lively little thing in her Sunday clothes.”
83. “If onything, thick in the waist,” suggested Jamie.
83. "If anything, he's a bit heavy around the waist," suggested Jamie.
84. “I dinna see that,” said Sam’l.
84. “I don’t see that,” said Sam.
85. “I d’na care for her hair either,” continued Jamie, who was very nice in his tastes; “something mair yallowchy wid be an improvement.”
85. “I don’t care for her hair either,” continued Jamie, who was very particular in his tastes; “something more yellowish would be an improvement.”
86. “A’body kins,” growled Sam’l, “'at black hair’s the bonniest.”
86. "Everyone knows," grumbled Sam'l, "that black hair is the prettiest."
87. The others chuckled.
The others laughed.
88. “Puir Sam’l!” Pete said.
“Poor Sam!” Pete said.
89. Sam’l not being certain whether this should be received with a smile or a frown, opened his mouth wide as a kind of compromise. This was position one with him for thinking things over.
89. Sam wasn't sure if he should react with a smile or a frown, so he opened his mouth wide as a sort of compromise. This was his first position for considering things.
90. Few Auld Lichts, as I have said, went the length of choosing a helpmate for themselves. One day a young man’s friends would see him mending the washing-tub of a maiden’s mother. They kept the joke until Saturday night, and then he learned from them what he had been after. It dazed him for a time, but in a year or so he grew accustomed to the idea, and they were then married. With a little help he fell in love just like other people.
90. Few Old Lights, as I mentioned, went to the trouble of picking a partner for themselves. One day, a young man's friends spotted him fixing a washing tub belonging to a girl's mother. They kept the joke going until Saturday night, when he finally found out what they had been teasing him about. It shocked him for a while, but after a year or so, he got used to the idea, and then they got married. With a bit of help, he fell in love just like everyone else.
91. Sam’l was going the way of the others, but he found it difficult to come to the point. He only went courting once a week, and he could never take up the running at the place where he left off the Saturday[Pg 228] before. Thus he had not, so far, made great headway. His method of making up to Bell had been to drop in at T’Nowhead on Saturday nights and talk with the farmer about the rinderpest.
91. Sam was following the same path as everyone else, but he struggled to get to the point. He only went out on dates once a week, and he could never pick up the conversation where he left off the Saturday before. Because of that, he hadn't really made much progress. His way of getting closer to Bell had been to stop by T'Nowhead on Saturday nights and chat with the farmer about the cattle disease. [Pg 228]
92. The farm kitchen was Bell’s testimonial. Its chairs, tables, and stools were scoured by her to the whiteness of Rob Angus’s sawmill boards, and the muslin blind on the window was starched like a child’s pinafore. Bell was brave, too, as well as energetic. Once Thrums had been overrun with thieves. It is now thought that there may have been only one, but he had the wicked cleverness of a gang. Such was his repute that there were weavers who spoke of locking their doors when they went from home. He was not very skilful, however, being generally caught, and when they said they knew he was a robber he gave them their things back and went away. If they had given him time there is no doubt that he would have gone off with his plunder. One night he went to T’Nowhead, and Bell, who slept in the kitchen, was wakened by the noise. She knew who it would be, so she rose and dressed herself and went to look for him with a candle. The thief had not known what to do when he got in, and as it was very lonely he was glad to see Bell. She told him he ought to be ashamed of himself, and would not let him out by the door until he had taken[Pg 229] off his boots so as not to soil the carpet.
92. The farm kitchen was Bell’s pride and joy. She scrubbed the chairs, tables, and stools until they gleamed like the white boards from Rob Angus’s sawmill, and the muslin blind on the window was starched as neatly as a child’s pinafore. Bell was not only energetic but also brave. Once, Thrums had a serious problem with thieves. It’s now believed there might have been just one, but he was as crafty as a whole gang. His reputation was such that some weavers talked about locking their doors whenever they left home. However, he wasn't very skilled; he usually got caught, and when they confronted him about being a thief, he would just return their belongings and walk away. If they had given him a moment longer, there’s no doubt he would have made off with his loot. One night he slipped into T’Nowhead, and Bell, who was sleeping in the kitchen, was awakened by the noise. She figured out who it was, so she got up, got dressed, and went out to find him with a candle. The thief was at a loss for what to do inside, and since it was so empty, he was relieved to see Bell. She told him he should be ashamed of himself and refused to let him leave through the door until he took off his boots to avoid dirtying the carpet.
93. On this Saturday evening Sam’l stood his ground in the square, until by and by he found himself alone. There were other groups there still, but his circle had melted away. They went separately, and no one said good-night. Each took himself off slowly, backing out of the group until he was fairly started.
93. On this Saturday evening, Sam stood his ground in the square until he gradually found himself alone. There were still other groups around, but his circle had drifted apart. They left one by one, and no one said good night. Each person walked away slowly, stepping back from the group until they were on their way.
94. Sam’l looked about him, and then, seeing that the others had gone, walked round the townhouse into the darkness of the brae that leads down and then up to the farm of T’Nowhead.
94. Sam’l looked around and, noticing that the others had left, walked around the townhouse into the darkness of the hillside that goes down and then up to the farm of T’Nowhead.
95. To get into the good graces of Lisbeth Fargus you had to know her ways and humour them. Sam’l, who was a student of women, knew this, and so, instead of pushing the door open and walking in, he went through the rather ridiculous ceremony of knocking. Sanders Elshioner was also aware of this weakness of Lisbeth’s, but, though he often made up his mind to knock, the absurdity of the thing prevented his doing so when he reached the door. T’Nowhead himself had never got used to his wife’s refined notions, and when any one knocked he always started to his feet, thinking there must be something wrong.
95. To win over Lisbeth Fargus, you had to understand her ways and cater to them. Sam’l, who was a keen observer of women, got this, so instead of just pushing the door open and walking in, he went through the somewhat silly ritual of knocking. Sanders Elshioner was also aware of this quirk of Lisbeth’s, but even though he often intended to knock, the ridiculousness of it stopped him whenever he got to the door. T’Nowhead himself had never adjusted to his wife’s refined ideas, and whenever someone knocked, he would always jump up, thinking something must be wrong.
96. Lisbeth came to the door, her expansive figure blocking the way in.
96. Lisbeth came to the door, her large frame blocking the entrance.
97. “Sam’l,” she said.
“Sam,” she said.
[Pg 230]
[Pg 230]
98. “Lisbeth,” said Sam’l.
98. "Lisbeth," Sam'l said.
99. He shook hands with the farmer’s wife, knowing that she liked it, but only said, “Ay, Bell,” to his sweetheart, “Ay, T’Nowhead,” to McQuhatty, and “It’s yersel, Sanders,” to his rival.
99. He shook hands with the farmer’s wife, knowing she appreciated it, but only said, “Yeah, Bell,” to his girlfriend, “Yeah, T’Nowhead,” to McQuhatty, and “It’s you, Sanders,” to his rival.
100. They were sitting round the fire, T’Nowhead, with his feet on the ribs, wondering why he felt so warm, and Bell darned a stocking, while Lisbeth kept an eye on a goblet full of potatoes.
100. They were sitting around the fire, T’Nowhead with his feet on the ribs, wondering why he felt so warm, while Bell knitted a stocking and Lisbeth kept an eye on a goblet full of potatoes.
101. “Sit into the fire, Sam’l,” said the farmer, not, however, making way for him.
101. “Sit by the fire, Sam’l,” said the farmer, but he didn’t make room for him.
102. “Na, na,” said Sam’l, “I’m to bide nae time.” Then he sat into the fire. His face was turned away from Bell, and when she spoke he answered her without looking round. Sam’l felt a little anxious. Sanders Elshioner, who had one leg shorter than the other, but looked well when sitting, seemed suspiciously at home. He asked Bell questions out of his own head, which was beyond Sam’l, and once he said something to her in such a low voice that the others could not catch it. T’Nowhead asked curiously what it was, and Sanders explained that he had only said, “Ay, Bell, the morn’s the Sabbath.” There was nothing startling in this, but Sam’l did not like it. He began to wonder if he was too late, and had he seen his opportunity would have told Bell of a nasty rumour that Sanders intended to go[Pg 231] over to the Free Church if they would make him kirk-officer.
102. “No, no,” said Sam’l, “I’m not going to waste any time.” Then he sat down by the fire. His face was turned away from Bell, and when she spoke, he answered her without looking back. Sam’l felt a bit anxious. Sanders Elshioner, who had one leg shorter than the other but looked fine when sitting, seemed suspiciously comfortable. He asked Bell questions that came from his own mind, which was beyond Sam’l, and once he said something to her in such a low voice that the others couldn’t hear it. T’Nowhead asked curiously what it was, and Sanders explained that he had only said, “Yeah, Bell, tomorrow’s the Sabbath.” There was nothing shocking in this, but Sam’l didn’t like it. He began to worry that he was too late, and had he seen his chance, he would have told Bell about a nasty rumor that Sanders intended to go[Pg 231] over to the Free Church if they would make him the church officer.
103. Sam’l had the good-will of T’Nowhead’s wife, who liked a polite man. Sanders did his best, but from want of practice he constantly made mistakes. To-night, for instance, he wore his hat in the house because he did not like to put up his hand and take it off. T’Nowhead had not taken his off either but that was because he meant to go out by and by and lock the byre door. It was impossible to say which of her lovers Bell preferred. The proper course with an Auld Licht lassie was to prefer the man who proposed to her.
103. Sam had the good will of T’Nowhead’s wife, who appreciated a polite guy. Sanders tried his best, but since he wasn't used to it, he kept making mistakes. For example, tonight he wore his hat in the house because he didn’t want to raise his hand and take it off. T’Nowhead hadn’t taken his off either, but that was because he planned to go out soon and lock the byre door. It was hard to tell which of her suitors Bell liked best. The usual approach with an Auld Licht girl was to prefer the guy who asked her to marry him.
104. “Ye’ll bide a wee, an’ hae something to eat?” Lisbeth asked Sam’l, with her eyes on the goblet.
104. “Will you stay for a bit and have something to eat?” Lisbeth asked Sam’l, her eyes on the goblet.
105. “No, I thank ye,” said Sam’l, with true gentility.
105. "No, thank you," said Sam'l, with genuine kindness.
106. “Ye’ll better?”
"Are you better?"
107. “I dinna think it.”
“I don't think so.”
108. “Hoots aye; what’s to hender ye?”
108. "Of course; what's stopping you?"
109. “Weel, since ye’re sae pressin’, I’ll bide.”
109. “Well, since you’re so insistent, I’ll stay.”
110. No one asked Sanders to stay. Bell could not, for she was but the servant, and T’Nowhead knew that the kick his wife had given him meant that he was not to do so either. Sanders whistled to show that he was not uncomfortable.
110. No one asked Sanders to stick around. Bell couldn’t, since she was just the servant, and T’Nowhead realized that the kick his wife had given him meant he wasn’t supposed to either. Sanders whistled to let everyone know he was fine.
111. “Ay then, I’ll be stappin’ ower the brae,” he said at last.
111. “Well then, I’ll be stepping over the hill,” he finally said.
112. He did not go, however. There was sufficient pride in him to[Pg 232] get him off his chair, but only slowly, for he had to get accustomed to the notion of going. At intervals of two or three minutes he remarked that he must now be going. In the same circumstances Sam’l would have acted similarly. For a Thrums man it is one of the hardest things in life to get away from anywhere.
112. He didn’t go, though. He had enough pride to get off his chair, but it took time because he had to get used to the idea of leaving. Every few minutes, he would mention that he should be on his way. In the same situation, Sam would have done the same. For someone from Thrums, one of the toughest things in life is to leave a place.
113. At last Lisbeth saw that something must be done. The potatoes were burning, and T’Nowhead had an invitation on his tongue.
113. Finally, Lisbeth realized that something needed to be done. The potatoes were burning, and T’Nowhead had an invitation ready to go.
114. “Yes, I’ll hae to be movin’,” said Sanders, hopelessly, for the fifth time.
114. “Yeah, I’ll have to get going,” said Sanders, hopelessly, for the fifth time.
115. “Guid nicht to ye, then, Sanders,” said Lisbeth. “Gie the door a fling-to, ahent ye.”
115. “Don’t let him in, then, Sanders,” said Lisbeth. “Shut the door behind you.”
116. Sanders, with a mighty effort, pulled himself together. He looked boldly at Bell, and then took off his hat carefully. Sam’l saw with misgivings that there was something in it which was not a handkerchief. It was a paper bag glittering with gold braid, and contained such an assortment of sweets as lads bought for their lasses on the Muckle Friday.
116. Sanders, with a huge effort, gathered himself. He looked confidently at Bell and then carefully removed his hat. Sam’l noticed with unease that there was something in it that wasn’t a handkerchief. It was a paper bag shining with gold trim, filled with a variety of sweets that boys bought for their girls on Muckle Friday.
117. “Hae, Bell,” said Sanders, handing the bag to Bell in an off-hand way as if it were but a trifle. Nevertheless he was a little excited, for he went off without saying good-night.
117. “Hey, Bell,” said Sanders, giving the bag to Bell casually as if it were just a small thing. Still, he was a bit excited, because he left without saying goodnight.
118. No one spoke. Bell’s face was crimson. T’Nowhead fidgeted on his chair, and Lisbeth looked at Sam’l. The weaver was strangely calm and[Pg 233] collected, though he would have liked to know whether this was a proposal.
118. No one said anything. Bell’s face was bright red. T’Nowhead shifted nervously in his chair, and Lisbeth glanced at Sam’l. The weaver was surprisingly composed and collected, even though he was eager to find out if this was an offer.
119. “Sit in by to the table, Sam’l,” said Lisbeth, trying to look as if things were as they had been before.
119. “Come sit at the table, Sam’l,” said Lisbeth, attempting to appear as though everything was the same as before.
120. She put a saucerful of butter, salt, and pepper near the fire to melt, for melted butter is the shoeing-horn that helps over a meal of potatoes. Sam’l, however, saw what the hour required, and jumping up, he seized his bonnet.
120. She put a saucer of butter, salt, and pepper by the fire to melt, because melted butter is the perfect way to enhance a meal of potatoes. Sam, however, recognized what was needed at that moment, and jumping up, he grabbed his hat.
121. “Hing the tatties higher up the joist, Lisbeth,” he said with dignity; “I’se be back in ten meenits.”
121. “Hang the potatoes higher up the beam, Lisbeth,” he said with dignity; “I’ll be back in ten minutes.”
122. He hurried out of the house, leaving the others looking at each other.
122. He rushed out of the house, leaving the others exchanging glances.
123. “What do ye think?” asked Lisbeth.
123. “What do you think?” asked Lisbeth.
124. “I d’na kin,” faltered Bell.
124. “I don’t know,” stammered Bell.
125. “Thae tatties is lang o’ comin’ to the boil,” said T’Nowhead.
125. “The potatoes are taking a long time to boil,” said T’Nowhead.
126. In some circles a lover who behaved like Sam’l would have been suspected of intent upon his rival’s life, but neither Bell nor Lisbeth did the weaver that injustice. In a case of this kind it does not much matter what T’Nowhead thought.
126. In some circles, a lover who acted like Sam’l would have been suspected of trying to harm his rival, but neither Bell nor Lisbeth judged the weaver that way. In this situation, it doesn’t really matter what T’Nowhead thought.
127. The ten minutes had barely passed when Sam’l was back in the farm kitchen. He was too flurried to knock this time, and, indeed, Lisbeth did not expect it of him.
127. The ten minutes had barely passed when Sam'l was back in the farm kitchen. He was too flustered to knock this time, and, in fact, Lisbeth didn't expect him to.
128. “Bell, hae!” he cried, handing[Pg 234] his sweetheart a tinsel bag twice the size of Sander’s gift.
128. “Hey, check this out!” he shouted, giving his sweetheart a shiny bag that was twice the size of Sander’s gift.
129. “Losh preserve’s!” exclaimed Lisbeth; “I’se warrant there’s a shillin’s worth.”
129. “Goodness gracious!” exclaimed Lisbeth; “I bet there’s a shilling's worth.”
130. “There’s a’ that, Lisbeth—an’ mair,” said Sam’l, firmly.
130. "There's that, Lisbeth—and more," said Sam, confidently.
131. “I thank ye, Sam’l,” said Bell, feeling an unwonted elation as she gazed at the two paper bags in her lap.
131. “Thank you, Sam,” said Bell, feeling an unfamiliar happiness as she looked at the two paper bags in her lap.
132. “Ye’re ower extravegint, Sam’l,” Lisbeth said.
132. “You're too extravagant, Sam'l,” Lisbeth said.
133. “Not at all,” said Sam’l; “not at all. But I widna advise ye to eat thae ither anes, Bell—they’re second quality.”
133. “Not at all,” said Sam; “not at all. But I wouldn't recommend you eat those other ones, Bell—they're second quality.”
134. Bell drew back a step from Sam’l.
134. Bell took a step back from Sam’l.
135. “How do ye kin?” asked the farmer shortly, for he liked Sanders.
135. “How are you doing?” asked the farmer curtly, since he liked Sanders.
136. “I spiered i’ the shop,” said Sam’l.
136. “I looked in the shop,” said Sam.
137. The goblet was placed on a broken plate on the table with the saucer beside it, and Sam’l, like the others, helped himself. What he did was to take potatoes from the pot with his fingers, peel off their coats, and then dip them into the butter. Lisbeth would have liked to provide knives and forks, but she knew that beyond a certain point T’Nowhead was master in his own house. As for Sam’l, he felt victory in his hands, and began to think that he had gone too far.
137. The goblet was set on a broken plate on the table with the saucer next to it, and Sam’l, like everyone else, helped himself. He took potatoes from the pot with his fingers, peeled off their skins, and then dipped them in the butter. Lisbeth wished she could offer knives and forks, but she knew that beyond a certain point, T’Nowhead was in charge in his own home. As for Sam’l, he felt a sense of victory in his hands, and he started to think that he might have gone too far.
138. In the meantime Sanders, little witting that Sam’l had trumped[Pg 235] his trick, was sauntering along the kirk-wynd with his hat on the side of his head. Fortunately he did not meet the minister.
138. Meanwhile, Sanders, unaware that Sam’l had outsmarted him, was strolling along the church path with his hat tilted to the side. Fortunately, he didn’t run into the minister.
139. The courting of T’Nowhead’s Bell reached its crisis one Sabbath about a month after the events above recorded. The minister was in great force that day, but it is no part of mine to tell how he bore himself. I was there, and am not likely to forget the scene. It was a fateful Sabbath for T’Nowhead’s Bell and her swains, and destined to be remembered for the painful scandal which they perpetrated in their passion.
139. The dating of T’Nowhead’s Bell reached a turning point one Sunday about a month after the events mentioned earlier. The minister was very energetic that day, but I won’t go into how he conducted himself. I was there, and I’m unlikely to forget what happened. It was a significant Sunday for T’Nowhead’s Bell and the men pursuing her, and it would be remembered for the distressing scandal they caused in their passion.
140. Bell was not in the kirk. There being an infant of six months in the house it was a question of either Lisbeth or the lassie’s staying at home with him, and though Lisbeth was unselfish in a general way, she could not resist the delight of going to church. She had nine children besides the baby, and being but a woman, it was the pride of her life to march them into the T’Nowhead pew, so well watched that they dared not misbehave, and so tightly packed that they could not fall. The congregation looked at that pew, the mothers enviously, when they sang the lines—
140. Bell wasn't at church. With a six-month-old baby at home, it was a question of whether Lisbeth or the girl would stay with him. Even though Lisbeth was generally unselfish, she couldn't resist the joy of going to church. She had nine other kids besides the baby, and as a woman, it filled her with pride to march them into the T’Nowhead pew, so well monitored that they wouldn’t dare misbehave, and so tightly packed that they couldn’t fall. The congregation watched that pew, with mothers looking on enviously, when they sang the lines—
“Jerusalem like a city is
Compactly built together.”
“Jerusalem as a city is
Tightly built together.”
141. The first half of the service had been gone through on this particular[Pg 236] Sunday without anything remarkable happening. It was at the end of the psalm which preceded the sermon that Sanders Elshioner, who sat near the door, lowered his head until it was no higher than the pews, and in that attitude, looking almost like a four-footed animal, slipped out of the church. In their eagerness to be at the sermon many of the congregation did not notice him, and those who did put the matter by in their minds for future investigation. Sam’l, however, could not take it so coolly. From his seat in the gallery he saw Sanders disappear, and his mind misgave him. With the true lover’s instinct he understood it all. Sanders had been struck by the fine turn-out in the T’Nowhead’s pew. Bell was alone at the farm. What an opportunity to work one’s way up to a proposal. T’Nowhead was so overrun with children that such a chance seldom occurred, except on a Sabbath. Sanders, doubtless, was off to propose, and he, Sam’l, was left behind.
141. The first half of the service had gone by on this particular[Pg 236] Sunday without anything noteworthy happening. It was at the end of the psalm before the sermon that Sanders Elshioner, who was sitting near the door, lowered his head until it was level with the pews, and in that position, looking almost like an animal, slipped out of the church. Many of the congregation were so eager to hear the sermon that they didn’t notice him, and those who did just set it aside for later thought. Sam’l, however, couldn’t take it so lightly. From his spot in the gallery, he saw Sanders disappear, and he felt uneasy. With the instinct of a true lover, he understood everything. Sanders had been captivated by the display in the T’Nowhead’s pew. Bell was alone at the farm. What a perfect chance to work his way up to a proposal. T’Nowhead had so many kids that opportunities like this rarely came up, except on a Sunday. Sanders was undoubtedly off to propose, and he, Sam’l, was left behind.
142. The suspense was terrible. Sam’l and Sanders had both known all along that Bell would take the first of the two who asked her. Even those who thought her proud admitted that she was modest. Bitterly the weaver repented having waited so long. Now it was too late. In ten minutes Sanders would be at T’Nowhead; in an hour all would be over. Sam’l rose to his feet in a daze.[Pg 237] His mother pulled him down by the coat-tail, and his father shook him, thinking he was walking in his sleep. He tottered past them, however, hurried up the aisle, which was so narrow that Dan’l Ross could only reach his seat by walking sideways, and was gone before the minister could do more than stop in the middle of a whirl and gape in horror after him.
142. The suspense was unbearable. Sam’l and Sanders had known all along that Bell would go for the first one who asked her. Even those who thought she was stuck-up admitted she was humble. The weaver regretted waiting so long with bitterness. Now it was too late. In ten minutes, Sanders would be at T’Nowhead; in an hour, it would all be over. Sam’l stood up in a daze. [Pg 237] His mother grabbed him by the coat-tail, and his father shook him, thinking he was sleepwalking. However, he stumbled past them and rushed up the aisle, which was so narrow that Dan’l Ross could only get to his seat by walking sideways, and he was gone before the minister could do more than stop in the middle of a spin and stare in shock after him.
143. A number of the congregation felt that day the advantage of sitting in the loft. What was a mystery to those downstairs was revealed to them. From the gallery windows they had a fine open view to the south; and as Sam’l took the common, which was a short cut though a steep ascent, to T’Nowhead, he was never out of their line of vision. Sanders was not to be seen, but they guessed rightly the reason why. Thinking he had ample time, he had gone round by the main road to save his boots—perhaps a little scared by what was coming. Sam’l’s design was to forestall him by taking the shorter path over the burn and up the common.
143. A number of people in the congregation appreciated the advantage of sitting in the loft that day. What was a mystery to those below was clear to them. From the gallery windows, they had a great view to the south; and as Sam’l took the common, which was a shortcut up the steep hill to T’Nowhead, he was always in their sight. They couldn't see Sanders, but they guessed the reason why. Thinking he had plenty of time, he took the main road to save his boots—maybe a bit nervous about what was ahead. Sam’l’s plan was to beat him there by taking the shorter path over the stream and up the common.
144. It was a race for a wife, and several onlookers in the gallery braved the minister’s displeasure to see who won. Those who favoured Sam’l’s suit exultingly saw him leap the stream, while the friends of Sanders fixed their eyes on the top of the common where it ran into the road. Sanders must come into sight[Pg 238] there, and the one who reached this point first would get Bell.
144. It was a competition to win a wife, and several spectators in the gallery risked the minister’s anger to see who would prevail. Those who supported Sam’l cheered as they watched him leap over the stream, while Sanders’ friends focused on the top of the hill where it met the road. Sanders had to emerge from there, and whoever arrived at that spot first would win Bell.
145. As Auld Lichts do not walk abroad on the Sabbath, Sanders would probably not be delayed. The chances were in his favour. Had it been any other day in the week Sam’l might have run. So some of the congregation in the gallery were thinking, when suddenly they saw him bend low and then take to his heels. He had caught sight of Sander’s head bobbing over the hedge that separated the road from the common, and feared that Sanders might see him. The congregation who could crane their necks sufficiently saw a black object, which they guessed to be the carter’s hat, crawling along the hedge-top. For a moment it was motionless, and then it shot ahead. The rivals had seen each other. It was now a hot race. Sam’l, dissembling no longer, clattered up the common, becoming smaller and smaller to the onlookers as he neared the top. More than one person in the gallery almost rose to their feet in their excitement. Sam’l had it. No, Sanders was in front. Then the two figures disappeared from view. They seemed to run into each other at the top of the brae, and no one could say who was first. The congregation looked at one another. Some of them perspired. But the minister held on his course.
145. Since Auld Lichts don’t go out on Sundays, Sanders probably wouldn’t be delayed. The odds were in his favor. If it had been any other day of the week, Sam’l might have run. So some of the people in the gallery thought this, when suddenly they saw him duck low and then take off. He had spotted Sanders’ head bobbing over the hedge that separated the road from the common and was worried that Sanders might see him. The congregation members who could stretch their necks sufficiently saw a black object, which they guessed was the carter’s hat, moving along the top of the hedge. For a moment, it was still, and then it shot forward. The rivals had spotted each other. It was now a fierce race. Sam’l, no longer hiding, clattered up the common, getting smaller and smaller to the onlookers as he reached the top. More than one person in the gallery nearly jumped to their feet in excitement. Sam’l had it. No, Sanders was in front. Then the two figures vanished from view. They seemed to collide at the top of the slope, and no one could say who was ahead. The congregation looked at each other. Some of them were sweating. But the minister kept on his path.
146. Sam’l had just been in time to cut Sanders out. It was the weaver’s[Pg 239] saving that Sanders saw this when his rival turned the corner; for Sam’l was sadly blown. Sanders took in the situation and gave in at once. The last hundred yards of the distance he covered at his leisure, and when he arrived at his destination he did not go in. It was a fine afternoon for the time of the year, and he went round to have a look at the pig, about which T’Nowhead was a little sinfully puffed up.
146. Sam had just made it in time to pull Sanders out. It was a good thing Sanders noticed this when his rival turned the corner; Sam was pretty out of breath. Sanders assessed the situation and gave up right away. He covered the last hundred yards at a relaxed pace, and when he got to his destination, he didn’t go inside. It was a lovely afternoon for this time of year, so he walked around to check out the pig, which T’Nowhead was a bit too proud of.
147. “Ay,” said Sanders, digging his fingers critically into the grunting animal; “quite so.”
147. “Yeah,” said Sanders, digging his fingers into the grunting animal; “exactly.”
148. “Grumph,” said the pig, getting reluctantly to his feet.
148. “Grumph,” said the pig, getting up reluctantly.
149. “Ou ay; yes,” said Sanders, thoughtfully.
149. "Oh yeah; yes," said Sanders, thoughtfully.
150. Then he sat down on the edge of the sty, and looked long and silently at an empty bucket. But whether his thoughts were of T’Nowhead’s Bell, whom he had lost for ever, or of the food the farmer fed his pig on, is not known.
150. Then he sat down on the edge of the sty and stared silently at an empty bucket for a long time. But whether he was thinking about T’Nowhead’s Bell, whom he had lost forever, or about the food the farmer gave his pig, is unknown.
151. “Lord preserve’s! Are ye no at the kirk?” cried Bell, nearly dropping the baby as Sam’l broke into the room.
151. “Goodness! Aren't you at church?” cried Bell, almost dropping the baby as Sam’l burst into the room.
152. “Bell!” cried Sam’l.
“Bell!” shouted Sam’l.
153. Then T’Nowhead’s Bell knew that her hour had come.
153. Then T’Nowhead’s Bell realized that her time had come.
154. “Sam’l,” she faltered.
“Sam,” she faltered.
155. “Will ye hae’s, Bell?” demanded Sam’l, glaring at her sheepishly.
155. “Will you have some, Bell?” asked Sam, looking at her awkwardly.
156. “Ay,” answered Bell.
156. "Yeah," answered Bell.
157. Sam’l fell into a chair.
157. Sam sat down in a chair.
[Pg 240]
[Pg 240]
158. “Bring’s drink o’ water, Bell,” he said. But Bell thought the occasion required milk, and there was none in the kitchen. She went out to the byre, still with the baby in her arms, and saw Sanders Elshioner sitting gloomily on the pigsty.
158. “Bring me a drink of water, Bell,” he said. But Bell felt that the situation called for milk, and there wasn't any in the kitchen. She went out to the barn, still holding the baby in her arms, and saw Sanders Elshioner sitting sadly on the pigsty.
159. “Weel, Bell,” said Sanders.
“Weel, Bell,” Sanders said.
160. “I thocht ye’d been at the kirk, Sanders,” said Bell.
160. “I thought you had been at church, Sanders,” said Bell.
161. Then there was a silence between them.
161. Then there was silence between them.
162. “Has Sam’l spiered ye, Bell?” asked Sanders, stolidly.
162. “Has Sam’l asked you, Bell?” asked Sanders, poker-faced.
163. “Ay,” said Bell again, and this time there was a tear in her eye. Sanders was little better than an “orra man,” and Sam’l was a weaver, and yet—But it was too late now. Sanders gave the pig a vicious poke with a stick, and when it had ceased to grunt, Bell was back in the kitchen. She had forgotten about the milk, however, and Sam’l only got water after all.
163. “Yeah,” Bell said again, and this time there was a tear in her eye. Sanders was barely better than a random guy, and Sam’l was a weaver, and yet—But it was too late now. Sanders gave the pig a harsh poke with a stick, and when it stopped grunting, Bell was back in the kitchen. She had forgotten about the milk, though, and Sam’l ended up with just water after all.
164. In after days, when the story of Bell’s wooing was told, there were some who held that the circumstances would have almost justified the lassie in giving Sam’l the go-by. But these perhaps forgot that her other lover was in the same predicament as the accepted one—that of the two, indeed, he was the more to blame, for he set off to T’Nowhead on the Sabbath of his own accord, while Sam’l only ran after him. And then there is no one to say for certain whether Bell heard of her suitors’ delinquencies[Pg 241] until Lisbeth’s return from the kirk. Sam’l could never remember whether he told her, and Bell was not sure whether, if he did, she took it in. Sanders was greatly in demand for weeks after to tell what he knew of the affair, but though he was twice asked to tea to the manse among the trees, and subjected thereafter to ministerial cross-examinations, this is all he told. He remained at the pigsty until Sam’l left the farm, when he joined him at the top of the brae, and they went home together.
164. Later, when the story of Bell’s courtship was shared, some people thought the circumstances might have justified her in ignoring Sam’l. But perhaps they forgot that her other suitor was in the same situation as the one she accepted—actually, he was more at fault because he went to T’Nowhead on his own on a Sunday, while Sam’l only chased after him. And there's no way to know for sure if Bell heard about her suitors' wrongdoings until Lisbeth came back from church. Sam’l could never recall if he told her, and Bell wasn’t sure if she grasped it if he did. For weeks, Sanders was in high demand to share what he knew about the situation, but even though he was invited to tea at the manse among the trees and subsequently grilled by the minister, this is all he revealed. He stayed at the pigsty until Sam’l left the farm, then he joined him at the top of the hill, and they went home together.
165. “It’s yersel, Sanders,” said Sam’l.
165. “It’s you, Sanders,” said Sam’l.
166. “It is so, Sam’l,” said Sanders.
166. "That's right, Sam," said Sanders.
167. “Very cauld,” said Sam’l.
“Very cold,” said Sam’l.
168. “Blawy,” assented Sanders.
“Blawy,” agreed Sanders.
169. After a pause—
169. After a break—
170. “Sam’l,” said Sanders.
"Sam," said Sanders.
171. “Ay.”
"Yeah."
172. “I’m hearin’ yer to be mairit.”
172. “I hear you’re getting married.”
173. “Ay.”
"Yeah."
174. “Weel, Sam’l she’s a snod bit lassie.”
174. “Well, Sam, she's a pretty little girl.”
175. “Thank ye,” said Sam’l.
"Thank you," said Sam.
176. “I had ance a kin’ o’ notion o’ Bell mysel,” continued Sanders.
176. “I once had a bit of a feeling about Bell myself,” continued Sanders.
177. “Ye had?”
"Did you?"
178. “Yes, Sam’l; but I thocht better o’t.”
178. “Yeah, Sam’l; but I thought better of it.”
179. “Hoo d’ye mean?” asked Sam’l, a little anxiously.
179. “What do you mean?” asked Sam, a bit anxiously.
180. “Weel, Sam’l, mairitch is a terrible responsibeelity.”
180. “Well, Sam’l, marriage is a huge responsibility.”
181. “It is so,” said Sam’l, wincing.
181. “It is,” said Sam, flinching.
[Pg 242]
[Pg 242]
182. “An’ no the thing to tak up withoot conseederation.”
182. “And not something to take up without consideration.”
183. “But it’s a blessed and honourable state, Sanders; ye’ve heard the minister on’t.”
183. “But it’s a blessed and honorable state, Sanders; you’ve heard the minister talk about it.”
184. “They say,” continued the relentless Sanders, “'at the minister doesna get on sair wi’ the wife himsel.”
184. “They say,” continued the relentless Sanders, “that the minister isn't getting along very well with his wife.”
185. “So they do,” cried Sam’l, with a sinking at the heart.
185. “Yeah, they do,” exclaimed Sam, feeling a heaviness in his chest.
186. “I’ve been telt,” Sanders went on, “'at gin ye can get the upper han’ o’ the wife for a while at first, there’s the mair chance o’ a harmonious exeestence.”
186. “I’ve been told,” Sanders went on, “that if you can gain the upper hand over the wife for a while at first, there’s a better chance of a harmonious existence.”
187. “Bell’s no the lassie,” said Sam’l, appealingly, “to thwart her man.”
187. “Bell’s not the girl,” Sam’l said, appealingly, “to go against her guy.”
188. Sanders smiled.
Sanders smiled.
189. “D’ye ye think she is, Sanders?”
189. “Do you think she is, Sanders?”
190. “Weel, Sam’l, I d’na want to fluster ye, but she’s been ower lang wi’ Lisbeth Fargus no to hae learnt her ways. An a’body kins what a life T’Nowhead has wi’ her.”
190. “Well, Sam’l, I don’t want to upset you, but she’s been with Lisbeth Fargus too long not to have picked up her habits. And everyone knows what a life T’Nowhead has with her.”
191. “Guid sake, Sanders, hoo did ye no speak o’ this afore?”
191. “Good grief, Sanders, why didn't you mention this before?”
192. “I thocht ye kent o’t, Sam’l.”
192. “I thought you knew about it, Sam.”
193. They had now reached the square, and the U. P. kirk was coming out. The Auld Licht kirk would be half an hour yet.
193. They had now arrived at the square, and the U. P. church was letting out. The Auld Licht church still had about half an hour to go.
194. “But, Sanders,” said Sam’l, brightening up, “ye was on yer wy to spier her yersel.”
194. “But, Sanders,” Sam’l said, lighting up, “you were on your way to ask her yourself.”
195. “I was, Sam’l,” said Sanders,[Pg 243] “and I canna but be thankfu’ ye was ower quick for’s.”
195. “I was, Sam’l,” said Sanders,[Pg 243] “and I can’t help but be grateful you were too quick for us.”
196. “Gin’t hadna been you,” said Sam’l, “I wid never hae thocht o’t.”
196. “If it hadn’t been for you,” said Sam’l, “I would never have thought of it.”
197. “I’m sayin’ naething agin Bell,” pursued the other, “but, man Sam’l, a body should be mair deleeberate in a thing o’ the kind.”
197. “I’m not saying anything against Bell,” the other continued, “but, Sam’l, one should be more careful in a situation like this.”
198. “It was michty hurried,” said Sam’l, woefully.
198. “It was really rushed,” said Sam’l, sadly.
199. “It’s a serious thing to spier a lassie,” said Sanders.
199. “It’s a big deal to ask a girl,” said Sanders.
200. “It’s an awfu’ thing,” said Sam’l.
200. “It’s a terrible thing,” said Sam.
201. “But we’ll hope for the best,” added Sanders, in a hopeless voice.
201. “But we’ll hope for the best,” added Sanders, sounding defeated.
202. They were close to the Tenements now, and Sam’l looked as if he were on his way to be hanged.
202. They were close to the Tenements now, and Sam’l looked like he was on his way to be hanged.
203. “Sam’l?”
"Sam?"
204. “Ay, Sanders.”
“Yeah, Sanders.”
205. “Did ye—did ye kiss her, Sam’l?”
205. “Did you—did you kiss her, Sam?”
206. “Na.”
"No."
207. “Hoo?”
“Who?”
208. “There was varra little time, Sanders.”
208. “There was hardly any time, Sanders.”
209. “Half an 'oor,” said Sanders.
209. “Half an hour,” said Sanders.
210. “Was there? Man Sanders, to tell ye the truth, I never thoct o’t.”
210. “Really? Man Sanders, to be honest, I never thought of that.”
211. Then the soul of Sanders Elshioner was filled with contempt for Sam’l Dickie.
211. Then the soul of Sanders Elshioner was filled with contempt for Sam’l Dickie.
212. The scandal blew over. At first it was expected that the minister would interfere to prevent the union, but beyond intimating from the pulpit that the souls of Sabbath-breakers[Pg 244] were beyond praying for, and then praying for Sam’l and Sanders at great length, with a word thrown in for Bell, he let things take their course. Some said it was because he was always frightened lest his young men should intermarry with other denominations, but Sanders explained it differently to Sam’l.
212. The scandal died down. At first, people thought the minister would step in to stop the union, but aside from hinting from the pulpit that the souls of those who break the Sabbath[Pg 244] were beyond redemption, and then praying for Sam’l and Sanders at length, while also mentioning Bell, he let things unfold naturally. Some said it was because he was always afraid his young men might marry into other denominations, but Sanders had a different explanation for Sam’l.
213. “I hav’na a word to say agin the minister,” he said, “they’re gran’ prayers, but, Sam’l, he’s a mairit man himsel.”
213. "I don’t have a word to say against the minister," he said, "his prayers are great, but, Sam, he's a married man himself."
214. “He’s a’ the better for that, Sanders, isna he?”
214. “He’s all the better for that, Sanders, isn’t he?”
215. “Do ye no see,” asked Sanders, compassionately, “'at he’s tryin’ to mak the best o’t?”
215. “Don’t you see,” asked Sanders, compassionately, “that he’s trying to make the best of it?”
216. “Oh, Sanders, man!” said Sam’l.
216. “Oh, Sanders, dude!” said Sam’l.
217. “Cheer up, Sam’l,” said Sanders, “it’ll sune be ower.”
217. “Cheer up, Sam,” said Sanders, “it’ll soon be over.”
218. Their having been rival suitors had not interfered with their friendship. On the contrary, while they had hitherto been mere acquaintances, they became inseparables as the wedding-day drew near. It was noticed that they had much to say to each other, and that when they could not get a room to themselves they wandered about together in the churchyard. When Sam’l had anything to tell Bell he sent Sanders to tell it, and Sanders did as he was bid. There was nothing that he would not have done for Sam’l.
218. Their rivalry for the same person didn’t get in the way of their friendship. In fact, as the wedding day approached, they went from being casual acquaintances to inseparable friends. People noticed that they had a lot to talk about, and even when they couldn’t find a private space, they strolled together in the churchyard. If Sam’l had something to share with Bell, he would send Sanders to deliver the message, and Sanders always did as he was asked. There was nothing he wouldn’t do for Sam’l.
219. The more obliging Sanders was, however, the sadder Sam’l grew.[Pg 245] He never laughed now on Saturdays, and sometimes his loom was silent half the day. Sam’l felt that Sanders’s was the kindness of a friend for a dying man.
219. The more helpful Sanders was, the sadder Sam’l became.[Pg 245] He didn’t laugh anymore on Saturdays, and sometimes his loom was quiet for half the day. Sam’l sensed that Sanders’s kindness was like that of a friend caring for someone who was dying.
220. It was to be a penny wedding, and Lisbeth Fargus said it was delicacy that made Sam’l superintend the fitting-up of the barn by deputy. Once he came to see it in person, but he looked so ill that Sanders had to see him home. This was on the Thursday afternoon, and the wedding was fixed for Friday.
220. It was going to be a penny wedding, and Lisbeth Fargus said that it was sensitivity that made Sam’l have someone else oversee the setup of the barn. He visited to check on it once, but he looked so unwell that Sanders had to take him home. This was on Thursday afternoon, and the wedding was scheduled for Friday.
221. “Sanders, Sanders,” said Sam’l, in a voice strangely unlike his own, “it’ll a’ be ower by this time the morn.”
221. “Sanders, Sanders,” said Sam’l, in a voice that sounded oddly unlike his own, “it’ll all be over by this time tomorrow.”
222. “It will,” said Sanders.
"It will," said Sanders.
223. “If I had only kent her langer,” continued Sam’l.
223. “If I had only known her longer,” continued Sam’l.
224. “It wid hae been safer,” said Sanders.
224. “It would have been safer,” said Sanders.
225. “Did ye see the yallow floor in Bell’s bonnet?” asked the accepted swain.
225. “Did you see the yellow floor in Bell’s bonnet?” asked the accepted suitor.
226. “Ay,” said Sanders, reluctantly.
“Yeah,” said Sanders, reluctantly.
227. “I’m dootin’—I’m sair dootin’ she’s but a flichty, licht-hearted crittur after a’.”
227. “I’m doubting—I’m really doubting she’s just a flighty, light-hearted creature after all.”
228. “I had ay my suspeecions o’t,” said Sanders.
228. “I had my suspicions about it,” said Sanders.
229. “Ye hae kent her langer than me,” said Sam’l.
229. “You've known her longer than I have,” said Sam’l.
230. “Yes,” said Sanders, “but there’s nae gettin’ at the heart o’ women. Man Sam’l they’re desperate cunnin’.”
230. “Yes,” said Sanders, “but you can’t get to the heart of women. Man Sam’l, they’re incredibly clever.”
[Pg 246]
[Pg 246]
231. “I’m dootin’t; I’m sair dootin’t.”
231. “I doubt it; I seriously doubt it.”
232. “It’ll be a warnin’ to ye, Sam’l, no to be in sic a hurry i’ the futur,” said Sanders.
232. “It’ll be a warning to you, Sam’l, not to rush in the future,” said Sanders.
233. Sam’l groaned.
233. Sam groaned.
234. “Ye’ll be gaein up to the manse to arrange wi’ the minister the morn’s mornin’,” continued Sanders, in a subdued voice.
234. “You’ll be going up to the manse to arrange with the minister tomorrow morning,” continued Sanders, in a quiet voice.
235. Sam’l looked wistfully at his friend.
235. Sam looked longingly at his friend.
236. “I canna do’t, Sanders,” he said, “I canna do’t.”
236. “I can't do it, Sanders,” he said, “I can't do it.”
237. “Ye maun,” said Sanders.
“Ye must,” said Sanders.
238. “It’s aisy to speak,” retorted Sam’l, bitterly.
238. “It’s easy to talk,” Sam said, bitterly.
239. “We have a’ oor troubles, Sam’l,” said Sanders, soothingly, “an’ every man maun bear his ain burdens. Johnny Davie’s wife’s dead, an’ he’s no repinin’.”
239. “We have our troubles, Sam,” said Sanders, gently, “and every man must carry his own burdens. Johnny Davie’s wife has passed away, and he’s not complaining.”
240. “Ay,” said Sam’l, “but a death’s no a mairitch. We hae haen deaths in our family too.”
240. “Yeah,” said Sam’l, “but a death isn’t a marriage. We’ve had deaths in our family too.”
241. “It may a’ be for the best,” added Sanders, “an’ there wid be a michty talk i’ the hale country-side gin ye didna ging to the minister like a man.”
241. “It might actually be for the best,” added Sanders, “and there would be a huge discussion throughout the whole countryside if you didn’t go to the minister like a man.”
242. “I maun hae langer to think o’t,” said Sam’l.
242. “I need more time to think about it,” said Sam’l.
243. “Bell’s mairitch is the morn,” said Sanders, decisively.
243. “Bell's mairitch is in the morning,” said Sanders, confidently.
244. Sam’l glanced up with a wild look in his eyes.
244. Sam glanced up with a wild look in his eyes.
245. “Sanders,” he cried.
“Sanders,” he shouted.
246. “Sam’l?”
"Sam?"
247. “Ye hae been a guid friend to[Pg 247] me, Sanders, in this sair affliction.”
247. “You have been a good friend to[Pg 247] me, Sanders, in this painful time.”
248. “Nothing ava,” said Sanders; “dount mention’d.”
248. "Nothing at all," said Sanders; "don't mention it."
249. “But, Sanders, ye canna deny but what your rinnin oot o’ the kirk that awfu’ day was at the bottom o’d a’.”
249. “But, Sanders, you can’t deny that your running out of the church that awful day was what caused it all.”
250. “It was so,” said Sanders, bravely.
250. “It was like that,” said Sanders, bravely.
251. “An’ ye used to be fond o’ Bell, Sanders.”
251. "And you used to be fond of Bell, Sanders."
252. “I dinna deny’t.”
252. “I don't deny it.”
253. “Sanders laddie,” said Sam’l, bending forward and speaking in a wheedling voice, “I aye thocht it was you she likeit.”
253. “Sanders, buddy,” said Sam’l, leaning forward and speaking in a coaxing voice, “I always thought it was you she liked.”
254. “I had some sic idea mysel,” said Sanders.
254. “I had some sick idea myself,” said Sanders.
255. “Sanders, I canna think to pairt twa fowk sae weel suited to ane anither as you an’ Bell.”
255. “Sanders, I can’t imagine two people who fit each other as well as you and Bell.”
256. “Canna ye, Sam’l?”
“Can you, Sam?”
257. “She wid mak ye a guid wife, Sanders. I hae studied her weel, and she’s a thrifty, douce, clever lassie. Sanders, there’s no the like o’ her. Mony a time, Sanders, I hae said to mysel, There’s a lass ony man micht be prood to tak. A’body says the same, Sanders. There’s nae risk ava, man: nane to speak o’. Tak her, laddie, tak her, Sanders; it’s a grand chance, Sanders. She’s yours for the spierin. I’ll gie her up, Sanders.”
257. “She would make you a good wife, Sanders. I’ve thought about her a lot, and she’s a resourceful, sensible, smart girl. Sanders, there’s no one like her. Many times, Sanders, I’ve told myself, There’s a girl any man would be proud to have. Everyone says the same, Sanders. There’s no risk at all, man: none to mention. Take her, lad, take her, Sanders; it’s a great opportunity, Sanders. She’s yours for the asking. I’ll give her up, Sanders.”
258. “Will ye, though?” said Sanders.
258. “Will you, though?” said Sanders.
259. “What d’ye think?” said Sam’l.
259. “What do you think?” said Sam.
[Pg 248]
[Pg 248]
260. “If ye wid rayther,” said Sanders, politely.
260. “If you’d rather,” said Sanders, politely.
261. “There’s my han’ on’t,” said Sam’l. “Bless ye, Sanders; ye’ve been a true frien’ to me.”
261. “There’s my hand on it,” said Sam’l. “Thank you, Sanders; you’ve been a true friend to me.”
262. Then they shook hands for the first time in their lives; and soon afterwards Sanders struck up the brae to T’Nowhead.
262. Then they shook hands for the first time in their lives, and shortly after, Sanders headed up the hill to T’Nowhead.
263. Next morning Sanders Elshioner, who had been very busy the night before, put on his Sabbath clothes and strolled up to the manse.
263. The next morning, Sanders Elshioner, who had been very busy the night before, put on his Sabbath clothes and walked up to the manse.
264. “But—but where is Sam’l?” asked the minister; “I must see himself.”
264. “But—but where's Sam’l?” asked the minister; “I need to see him.”
265. “It’s a new arrangement,” said Sanders.
265. “It’s a new setup,” said Sanders.
266. “What do you mean, Sanders?”
266. “What do you mean, Sanders?”
267. “Bell’s to marry me,” explained Sanders.
267. “Bell’s going to marry me,” explained Sanders.
268. “But—but what does Sam’l say?”
"But what does Sam say?"
269. “He’s willin’,” said Sanders.
269. “He’s willing,” said Sanders.
270. “And Bell?”
"And Bell?"
271. “She’s willin’, too. She prefers’t.”
271. “She’s willing, too. She prefers it.”
272. “It is unusual,” said the minister.
272. “It’s unusual,” the minister said.
273. “It’s a’ richt,” said Sanders.
273. “It's all good,” said Sanders.
274. “Well, you know best,” said the minister.
274. “Well, you know best,” said the minister.
275. “You see the hoose was taen, at ony rate,” continued Sanders. “An I’ll juist ging in til’t instead o’ Sam’l.”
275. “You see the house was taken, at any rate,” continued Sanders. “And I’ll just go into it instead of Sam’l.”
276. “Quite so.”
“Exactly.”
277. “An’ I cudna think to disappoint the lassie.”
277. “And I couldn’t bear to let the girl down.”
278. “Your sentiments do you credit, Sanders,” said the minister; “but I hope you do not enter upon the blessed state of matrimony without full consideration of its responsibilities. It is a serious business, marriage.”
278. “Your feelings are commendable, Sanders,” said the minister; “but I hope you don’t rush into the wonderful state of marriage without fully thinking about its responsibilities. It’s a big deal, marriage.”
279. “It’s a’ that,” said Sanders, “but I’m willin’ to stan’ the risk.”
279. “That’s true,” said Sanders, “but I’m willing to take the risk.”
280. So, as soon as it could be done, Sanders Elshioner took to wife T’Nowhead’s Bell, and I remember seeing Sam’l Dickie trying to dance at the penny wedding.
280. So, as soon as possible, Sanders Elshioner married T’Nowhead’s Bell, and I remember seeing Sam’l Dickie attempting to dance at the penny wedding.
281. Years afterwards it was said in Thrums that Sam’l had treated Bell badly, but he was never sure about it himself.
281. Years later, people in Thrums said that Sam’l had mistreated Bell, but he was never certain about it himself.
282. “It was a near thing—a michty near thing,” he admitted in the square.
282. “It was cutting it really close—a really close call,” he admitted in the square.
283. “They say,” some other weaver would remark, “'at it was you Bell liked best.”
283. “They say,” another weaver would comment, “that you were Bell's favorite.”
284. “I d’na kin,” Sam’l would reply, “but there’s nae doot the lassie was fell fond o’ me. Ou, a mere passin’ fancy’s ye micht say.”
284. “I don’t know,” Sam’l would reply, “but there’s no doubt the girl was really fond of me. Oh, it was just a passing fancy, you could say.”
[Pg 249]
[Pg 249]
SUGGESTIVE QUESTIONS FOR STUDY
1. In a few sentences, state whether the humor of this story centers in the central situation, the several incidents, the dialogue, the character, or in the climax.
1. In a few sentences, explain whether the humor of this story is based on the main situation, the various incidents, the conversations, the characters, or the climax.
2. If in more than one element, name them in the order of their interest, or humor, to you.
2. If there’s more than one element, list them in the order of how interesting or amusing they are to you.
3. Does the humor go to the limit of silliness at any point?
3. Does the humor ever reach the point of being too silly?
4. Point out any passages which are serio-comic.
4. Identify any sections that are both serious and funny.
5. Define (a) Farce, (b) Burlesque, (c) Comedy, (d) Wit, (e) Satire.
5. Define (a) Farce, (b) Burlesque, (c) Comedy, (d) Wit, (e) Satire.
6. Point out passages in this or any other stories which illustrate the foregoing types.
6. Identify sections in this or any other stories that demonstrate the types mentioned above.
7. Name other humorous stories by O. Henry and J. M. Barrie.
7. Name other funny stories by O. Henry and J. M. Barrie.
8. Name the best humorous story you know.
8. Name the funniest story you know.
[Pg 250]
[Pg 250]
TEN REPRESENTATIVE HUMOROUS STORIES
“The Celebrated Jumping Frog of Calaveras County,” Mark Twain, in Short Stories and Sketches, Vol. I.
“The Celebrated Jumping Frog of Calaveras County,” Mark Twain, in Short Stories and Sketches, Vol. I.
“Mike Grady’s Safety,” Will Lewis, Everybody’s Magazine, Aug., 1905.
“Mike Grady’s Safety,” Will Lewis, *Everybody’s Magazine*, Aug., 1905.
“Their First Formal Call,” Grace MacGowan Cooke, in volume of same title.
“Their First Formal Call,” Grace MacGowan Cooke, in volume of same title.
“The Day of the Dog,” George Barr McCutcheon, in volume of same title.
“The Day of the Dog,” George Barr McCutcheon, in the volume of the same title.
“Edgar, the Choir-Boy Uncelestial,” McClure’s Magazine, Jan., 1902.
“Edgar, the Choir-Boy Uncelestial,” McClure’s Magazine, Jan., 1902.
“The Pope’s Mule,” Alphonse Daudet, translated in Short-Story Masterpieces.
“The Pope’s Mule,” Alphonse Daudet, translated in Short-Story Masterpieces.
“Colonel Starbottle for the Plaintiff,” Bret Harte, Harper’s Magazine, Mar., 1901.
“Colonel Starbottle for the Plaintiff,” Bret Harte, Harper’s Magazine, Mar., 1901.
“The Phonograph and the Graft,” O. Henry, in Cabbages and Kings.
“The Phonograph and the Graft,” O. Henry, in Cabbages and Kings.
“The King of Boyville,” William Allen White, in Tales from McClure’s.
“The King of Boyville,” William Allen White, in Tales from McClure’s.
“The Bob-tailed Car,” Brander Matthews, in The Family Tree.
“The Bob-tailed Car,” Brander Matthews, in The Family Tree.
[Pg 251]
[Pg 251]
V
STORIES OF SETTING
The Outcasts of Poker Flat.—Bret Harte
The Outcasts of Poker Flat.—Bret Harte
Moonlight.—Guy de Maupassant
Moonlight.—Guy de Maupassant
[Pg 252]
[Pg 252]
It is the habit of my imagination to strive after as full a vision of the medium in which a character moves as of the character itself. The psychological causes which prompted me to give such details of Florentine life and history as I have given [in Romola] are precisely the same as those which determined me in giving the details of English village life in Silas Marner or the “Dodson” life, out of which were developed the destinies of poor Tom and Maggie.—George Eliot, quoted in her Life by J. W. Cross.
It's my imagination's habit to aim for a complete understanding of the environment a character inhabits, just as much as of the character themselves. The psychological reasons that drove me to include the details of Florentine life and history in Romola are exactly the same as those that led me to include the details of English village life in Silas Marner or the “Dodson” life, which shaped the fates of poor Tom and Maggie.—George Eliot, quoted in her Life by J.W. Cross.
[Pg 253]
[Pg 253]
STORIES OF SETTING
“Setting consists of the circumstances, material and immaterial, in which the characters are seen to move in the story. Its elements are time, place, occupations, and (I lack a more expressive word) conditions.”[24]
"Setting includes the circumstances, both physical and emotional, in which the characters operate within the story. Its elements are time, location, occupations, and (I can’t find a better word) conditions."[24]
To be classified properly as a story of setting, a narrative must be more than merely rich in local-color—as the characteristic environment of a certain district, as set forth in fiction, is often called. The true story of setting is one in which the setting has a vital bearing on the natures or the destinies of the characters. To be sure, the setting of a story, like the staging of a play, has an important part in the realistic presentation of the scene, but setting assumes a predominating part when it actually moves the characters to certain deciding actions, as do the snow-storm in “The Outcasts of Poker Flat,” and the soft light of the moon in “Moonlight.”
To be properly classified as a story of setting, a narrative has to be more than just descriptive of the local color—what we often refer to as the characteristic environment of a particular area in fiction. The true story of setting is one where the setting significantly influences the personalities or destinies of the characters. Of course, the setting of a story, much like the staging of a play, plays an important role in realistically presenting the scene, but the setting takes center stage when it actively drives the characters to make crucial decisions, as seen with the snowstorm in “The Outcasts of Poker Flat” and the gentle light of the moon in “Moonlight.”
The local-color story is one which could not have been set elsewhere without vitally changing, that is to say destroying, the story. For example, Balzac’s “The Unknown Masterpiece” is set almost entirely in an artist’s studio. The story would be slain by dragging it away from that atmosphere. But it is also a story of setting, because, whatever internal influences also affected the [Pg 254]characters, the setting influences their destinies—the men and the women live lives as determined by their surroundings. “Mateo Falcone,” too, is a story of setting, but not primarily so; for while it could have happened only in Corsica, and the local-color is singularly vivid, it is primarily a story of human motive and action.
The local-color story is one that couldn’t take place anywhere else without significantly changing, or rather ruining, the story. For instance, Balzac’s “The Unknown Masterpiece” is almost entirely set in an artist’s studio. The story would be ruined by removing it from that environment. However, it’s also a story of setting because, no matter what internal factors influenced the characters, the setting plays a crucial role in shaping their fates—the men and women lead lives determined by their surroundings. “Mateo Falcone” is also a story of setting, but that’s not its main focus; although it could only take place in Corsica and the local color is especially vivid, it’s mainly about human motives and actions.
Because of the powerful effect of environment upon character—in fiction just as in real life—the reader often judges of coming events by the feeling of the setting. The stage manager knows this, too, and accompanies, or even forecasts, a moral crisis by having lights, music, sounds, and other stage accessories harmonize with the mood of the actors. Or, contrariwise, the tone of the piece may best be brought out by a setting in contrast.
Due to the strong influence of the environment on character—in fiction just like in real life—the reader often anticipates future events based on the atmosphere of the setting. The stage manager understands this as well and enhances, or even predicts, a moral crisis by making sure the lights, music, sounds, and other stage elements match the actors' emotions. Conversely, the tone of the piece might be best highlighted by a setting that contrasts with it.
Observe how in the two stories illustrating this type the authors never draw pictures of costumes and scenery just for the sake of description, as beginners might do. The setting, to Harte and Maupassant, is vitally a part of the story, and any unnecessary detail would mar the harmony of the whole. Too much were worse than too little.
Notice how in the two stories illustrating this type, the authors never describe costumes and scenery just for the sake of description, like novices might. For Harte and Maupassant, the setting is an essential part of the story, and any unnecessary detail would disrupt the overall harmony. Too much detail is worse than too little.
“When the characters live, move, and have their being in the setting, the result is ‘atmosphere.’ Atmosphere is thus an effect. It is felt, not seen. Through its medium the reader must see all the action, yes, all the details of the story. Atmosphere gives value to the tones of fiction as in real life it does to landscape. The hills are actually the same in cloud and in sunshine, but the eye sees them as different through the mediate atmosphere. And so setting and characters, perfectly adjusted, make the reader, that is to say the beholder, see the story in the very tones the literary artist desires. A story of the sea has an atmosphere of its own, but the atmosphere does not consist merely of the accurately colored picture of sea and strand and sailor and ship and sky. The whole story is informed with the spirit of the sea—its tang clings to the garments, its winds breathe through every passage, its wonderful lights and glooms tone the whole story. Without it the story would be a poor thing, bloodless and inert.”[25]
“When the characters live, move, and exist in the setting, the result is ‘atmosphere.’ Atmosphere is therefore an effect. It’s felt, not seen. Through its medium, the reader must perceive all the action, including every detail of the story. Atmosphere adds value to the tones of fiction just as it does to landscapes in real life. The hills look the same in both cloudy and sunny weather, but our eyes see them differently depending on the atmosphere. Thus, when the setting and characters are perfectly aligned, they help the reader—essentially, the observer—experience the story in the exact tones that the writer intends. A story about the sea has its own unique atmosphere, but this atmosphere isn’t just an accurate depiction of the sea, beach, sailors, ships, and sky. The entire narrative is infused with the spirit of the sea—its saltiness sticks to the characters, its winds blow through every part, and its amazing lights and shadows shape the whole story. Without it, the story would be lackluster, lifeless, and static.”[25]
[Pg 255]
[Pg 255]
HARTE AND HIS WRITINGS
Francis Bret Harte was born in Albany, New York, August 25, 1839, of gentle parents. Abandoning his common-school education at the age of fifteen, he followed the lure of the gold craze to California, but neither teaching nor mining enriched him, so in 1857 he became a compositor on the Golden Era, San Francisco. He then edited the Californian, and in 1864 was appointed secretary of the branch Mint, remaining until 1870. Two years before, however, he had become editor of the new Overland Monthly, where some of his best work appeared. This position did not prove permanent, and even less so was that of the professorship of “recent literature” in the University of California, for in 1871 he removed to New York. In 1878 he became United States Consul at Crefeld, Germany, and in 1880 was transferred to Glasgow, Scotland, holding this post until 1885. His [Pg 256]later life was spent chiefly in London, where his brilliant talents brought him the full recognition of littérateurs. He died in London, May 6, 1902.
Francis Bret Harte was born in Albany, New York, on August 25, 1839, to kind parents. He dropped out of school at fifteen to chase the gold rush in California, but neither teaching nor mining made him wealthy, so in 1857 he became a typesetter for the Golden Era in San Francisco. He later edited the Californian, and in 1864 was appointed secretary of the branch Mint, a position he held until 1870. However, two years earlier, he became the editor of the new Overland Monthly, where some of his best work was published. This role wasn't permanent, and neither was his short stint as a professor of “recent literature” at the University of California, as he moved to New York in 1871. In 1878, he took the position of United States Consul in Crefeld, Germany, and in 1880 was moved to Glasgow, Scotland, where he served until 1885. He spent most of his later life in London, where his exceptional talents earned him full recognition from littérateurs. He passed away in London on May 6, 1902.
Bret Harte was a poet, critic, novelist, and short-story writer. His novels give him no such claim to fame as do his other writings. His best-known dialect verses are “The Society Upon the Stanislaus,” “Jim,” “Dickens in Camp,” “Dow’s Flat,” and “Plain Language From Truthful James” (often called “The Heathen Chinee”). His best sketches and short-stories include “The Luck of Roaring Camp,” “An Heiress of Red Dog,” “Miggles,” “Tennessee’s Partner,” “M’liss,” “The Idyl of Red Gulch,” “Brown of Calaveras,” and “The Outcasts of Poker Flat”—which was first published in The Overland Monthly, January, 1869.
Bret Harte was a poet, critic, novelist, and short story writer. His novels don't quite measure up to the acclaim of his other works. His most famous dialect poems are “The Society Upon the Stanislaus,” “Jim,” “Dickens in Camp,” “Dow’s Flat,” and “Plain Language From Truthful James” (often referred to as “The Heathen Chinee”). His best sketches and short stories include “The Luck of Roaring Camp,” “An Heiress of Red Dog,” “Miggles,” “Tennessee’s Partner,” “M’liss,” “The Idyl of Red Gulch,” “Brown of Calaveras,” and “The Outcasts of Poker Flat”—which was first published in The Overland Monthly, January 1869.
If artistic repression, dramatic feeling, mingled humor and pathos, deft character drawing, a sure sense of a “good story,” and the ability to win the reader in spite of himself—if the certain possession of all these are marks of fictional genius, surely Bret Harte deserves the name. For themes, he chose—and doubtless over-colored at times—the people and the happenings of '49 during the gold craze, and not a few have charged him with a fondness for heroes and heroines of undoubted reputations—for evil. Social outcasts, they say, he treated too tenderly. But Bret Harte himself effectively answered this criticism when he said:
If artistic restraint, strong emotions, mixed humor and sadness, skillful character creation, a solid understanding of a "good story," and the knack for engaging the reader despite themselves—if having all of these is a sign of literary genius, then Bret Harte definitely deserves that title. For his themes, he chose—sometimes with a bit too much flair—the people and events of '49 during the gold rush, and quite a few have accused him of favoring heroes and heroines with less-than-stellar reputations. They argue he was too gentle with social outcasts. But Bret Harte effectively responded to this criticism when he said:
“When it shall be proven to him that communities are degraded and brought to guilt and crime, suffering or[Pg 257] destitution, from a predominance of this quality [too much mercy]; when he shall see pardoned ticket-of-leave men elbowing men of austere lives out of situation and position, and the repentant Magdalen supplanting the blameless virgin in society, then he will lay aside his pen and extend his hand to the new Draconian discipline in fiction. But until then he will, without claiming to be a religious man or a moralist, but simply as an artist, reverently and humbly conform to the rules laid down by a Great Poet, who created the parable of the ‘Prodigal Son’ and the ‘Good Samaritan,’ whose works have lasted eighteen hundred years, and will remain when the present writer and his generation are forgotten.”
“When it is shown to him that communities are degraded and driven to guilt and crime, suffering or destitution, because of an excess of this quality [too much mercy]; when he sees pardoned parolees pushing aside people with strict lives from jobs and status, and the repentant Magdalen replacing the innocent virgin in society, then he will set down his pen and embrace the new Draconian discipline in fiction. But until then, he will, without claiming to be a religious man or a moralist, but simply as an artist, respectfully and humbly adhere to the guidelines established by a Great Poet, who created the parables of the ‘Prodigal Son’ and the ‘Good Samaritan,’ whose works have endured for eighteen hundred years and will persist long after the current writer and his generation are forgotten.”
The secret of the American short story is the treatment of characteristic American life, with absolute knowledge of its peculiarities and sympathy with its methods; with no fastidious ignoring of its habitual expression, or the inchoate poetry that may be found even hidden in its slang; with no moral determination except that which may be the legitimate outcome of the story itself; with no more elimination than may be necessary for the artistic conception, and never from the fear of the fetich of conventionalism. Of such is the American short story of to-day—the germ of American literature to come.—Bret Harte, The Rise of the Short Story, Cornhill Magazine, July, 1899.
The secret of the American short story lies in its portrayal of distinctive American life, with a complete understanding of its quirks and empathy for its ways; without any pretentious disregard for its everyday expression, or the raw beauty that can even be found in its slang; without any moral agenda other than what naturally arises from the story itself; with only as much exclusion as needed for artistic vision, and never out of fear of conventional norms. This is what defines the contemporary American short story—the foundation of American literature to come.—Bret Harte, The Rise of the Short Story, Cornhill Magazine, July, 1899.
He expounds an important half-truth which has been too much neglected: that as being is greater than seeming, appearances are often deceitful; under the most repellent exterior a soul of goodness may exist. But if we study him over much, we may become victims of the delusion that any person whose dress and manners are respectable, is, to say the least, a suspicious character, while drunken and profane ruffians are the saints of the earth.—Walter Lewin, The Abuse of Fiction.
He explains an important half-truth that has been overlooked: that being is more significant than seeming, and appearances can be misleading; beneath the most unattractive exterior, a good soul may exist. However, if we analyze him too much, we might fall into the illusion that anyone whose clothing and behavior are respectable is, at the very least, a questionable character, while drunken and foul-mouthed thugs are the true saints of the earth.—Walter Lewin, The Abuse of Fiction.
[Pg 258]
[Pg 258]
Mr. Kipling is a great man at sentiment (though we hear more of his anti-sentimental side), but has he written a child-story we can remember as long as “The Luck of Roaring Camp,” or anything we shall remember as long as “The Outcasts of Poker Flat,” or “Tennessee’s Partner”? These things are not so exact in their “business” (to borrow a term from still another art), but, perhaps on that very account, they remain symbols of the human heart. They have the simplicity of classics, a simplicity in which all unnecessary subtleties are dissolved.—Richard Le Gallienne, Rudyard Kipling: A Criticism.
Mr. Kipling is known for his emotional depth (even though we often hear more about his anti-emotional side), but has he written a children's story that we’ll remember as long as “The Luck of Roaring Camp,” or anything we’ll hold onto as dearly as “The Outcasts of Poker Flat,” or “Tennessee’s Partner”? These stories might not be as precise in their “function” (to borrow a term from another art form), but maybe that’s why they symbolize the human heart so well. They possess the straightforwardness of classics, a clarity where all unnecessary complexities fade away.—Richard Le Gallienne, Rudyard Kipling: A Criticism.
His own style, as finally formed, leaves little to be desired; it is clear, flexible, virile, laconic and withal graceful. Its full meaning is given to every word, and occasionally, like all original masters of prose, he imparts into a familiar word a racier significance than it had possessed before. His genius is nowhere more unmistakable than in the handling of his stories, which is terse to the point of severity, yet wholly adequate; everything necessary to the matter in hand is told, but with an economy of word and phrase that betokens a powerful and radical conception.—Julian Hawthorne and Leonard Lemmon, American Literature.
His final style leaves little to be desired; it's clear, flexible, strong, concise, and graceful. Every word carries its full meaning, and sometimes, like all original masters of prose, he gives a familiar word a sharper significance than it had before. His genius is most evident in the way he handles his stories, which are so concise they almost seem harsh, yet still completely sufficient; everything necessary to the topic is included, but with a minimal use of words and phrases that shows a powerful and radical idea.—Julian Hawthorne and Leonard Lemmon, American Literature.
Tennessee’s Partner, John Oakhurst, Yuba Bill, Kentucky, are as long-lived, seemingly, as any characters in nineteenth century fiction.... What gives these characters their lasting power? Why does that highly melodramatic tragedy in the hills above Poker Flat, with its stagy reformations, and contrasts of black sinner and white innocent, hold you spellbound at the thirtieth as at the first reading? Why does Tennessee’s Partner make you wish to grasp him by the hand? Bret Harte believed, apparently, that it was his realism which did it.... But we do not wait to be told by Californians, who still remember the red-shirt period, that Roaring Camp is not realism.... Not the realism, but the idealization, of this life of the Argonauts was the prize Bret Harte gained.—Henry S. Canby, The Short Story in English.
Tennessee’s Partner, John Oakhurst, Yuba Bill, Kentucky, seem to have a lasting presence, almost like any characters from 19th-century fiction. What gives these characters their enduring appeal? Why does that highly dramatic tragedy in the hills above Poker Flat, with its staged transformations and the stark contrasts between black sinners and white innocents, captivate you just as much on the thirtieth reading as on the first? Why does Tennessee’s Partner make you want to shake his hand? Bret Harte seemed to believe that it was his realism that achieved this. But we don’t need to be told by Californians, who still remember the red-shirt era, that Roaring Camp isn’t realism. It’s not the realism, but the idealization of the lives of these Argonauts that was the prize Bret Harte won.—Henry S. Canby, The Short Story in English.
FURTHER REFERENCES FOR READING ON HARTE
FURTHER REFERENCES FOR READING ON HARTE
Early Recollections of Bret Harte, C. W. Stoddard, Atlantic Monthly, vol. 78; Bret Harte in California, Noah Brooks, Century Magazine, vol. 58; American Humor and Bret Harte, G. K. Chesterton, Critic, vol. 41; Life of Bret Harte, T. E. Pemberton (1903); Bret Harte, H. W. Boynton, in Contemporary Men of Letters series (1905); Life of Bret Harte, H. C. Merwin (1911).
Early Recollections of Bret Harte, C. W. Stoddard, Atlantic Monthly, vol. 78; Bret Harte in California, Noah Brooks, Century Magazine, vol. 58; American Humor and Bret Harte, G. K. Chesterton, Critic, vol. 41; Life of Bret Harte, T. E. Pemberton (1903); Bret Harte, H. W. Boynton, in Contemporary Men of Letters series (1905); Life of Bret Harte, H. C. Merwin (1911).
[Pg 259]
[Pg 259]
THE OUTCASTS OF POKER FLAT
BY BRET HARTE
By Bret Harte
As Mr. John Oakhurst, gambler, stepped into the main street of Poker Flat on the morning of the twenty-third of November, 1850, he was conscious of a change in its Crisis at once forecasted. moral atmosphere since the preceding night. Two or three men, conversing earnestly together, ceased as he approached, and exchanged significant Preliminary setting. glances. There was a Sabbath lull in the air, which, in a settlement unused to Sabbath influences, looked ominous.
As Mr. John Oakhurst, a gambler, stepped into the main street of Poker Flat on the morning of November 23, 1850, he noticed a change in its Crisis predicted all at once. moral atmosphere since the previous night. A couple of men who were talking seriously stopped as he got closer and exchanged meaningful Initial setup. glances. There was a quietness in the air that felt heavy, which, in a place not familiar with such quietness, seemed foreboding.
2. Mr. Oakhurst’s calm, handsome face betrayed small concern of these indications. Whether he was conscious of any predisposing cause, was another question. “I reckon Summary of tone of the fundamental situation. Foundation Crisis. they’re after somebody,” he reflected; “likely it’s me.” He returned to his[Pg 260] pocket the handkerchief with which he had been whipping away the red dust of Poker Flat from his neat boots, and quietly discharged his mind of any further conjecture.
2. Mr. Oakhurst's calm, handsome face showed little concern about these signs. Whether he was aware of any underlying reason was another matter. “I guess Summary of the tone of the fundamental situation. Foundation Crisis. they're after someone,” he thought; “probably it’s me.” He put back in his[Pg 260] pocket the handkerchief he had been using to wipe the red dust of Poker Flat from his tidy boots, and quietly dismissed any further speculation.
3. In point of fact, Poker Flat was “after somebody.” It had lately suffered the loss of several thousand dollars, two valuable horses, and a prominent citizen. It was experiencing a spasm of virtuous reaction, quite as lawless and ungovernable as any of the acts that had provoked it. Foundation Plot Incident. A secret committee had determined to rid the town of all improper persons. This was done permanently in regard to two men who were then hanging from the boughs of a sycamore in the gulch, and temporarily in the banishment of certain other objectionable characters. I regret to say that some of these were ladies.Euphemism. It is but due to the sex, however, to state that their impropriety was professional, and it was only in such easily established standards of evil that Poker Flat ventured to sit in judgment.
3. In fact, Poker Flat was “after someone.” It had recently lost several thousand dollars, two valuable horses, and a prominent citizen. It was going through a wave of righteous reaction, just as lawless and uncontrollable as the actions that had triggered it. Foundation Plot Incident. A secret committee had decided to rid the town of all undesirables. This was done permanently with two men who were then hanging from the branches of a sycamore tree in the gulch, and temporarily with the banishment of certain other objectionable characters. I regret to say that some of these were women.Euphemism. It is only fair to mention, however, that their impropriety was professional, and it was only based on such easily defined standards of wrongdoing that Poker Flat took it upon itself to judge.
4. Mr. Oakhurst was right in supposing that he was included in this category. A few of the committee had urged hanging him as a possible example, and a sure method of reimbursing themselves from his pockets of the sums he had won from them. “It’s agin justice,” said Jim Wheeler, “to let this yer young man from Roaring Camp—an entire stranger—carry away our money.”[Pg 261] But a crude sentiment of equity residing in the breasts of those who had been fortunate enough to win from Mr. Oakhurst overruled this narrower local prejudice.
4. Mr. Oakhurst was correct in thinking that he was part of this group. A few members of the committee had suggested hanging him as a possible example and an easy way to get back the money he had won from them. “It’s against justice,” said Jim Wheeler, “to let this young man from Roaring Camp—who is a complete stranger—walk off with our money.”[Pg 261] But a basic sense of fairness in those who had been lucky enough to win from Mr. Oakhurst outweighed this more limited local bias.
5. Mr. Oakhurst received his sentence with philosophic calmness, none the less coolly that he was aware of the hesitation of his judges. He was too much of a gambler not to accept Fate. With him life was at best an uncertain game, and he recognized the usual percentage in favor of the dealer.
5. Mr. Oakhurst accepted his sentence with a calm demeanor, fully aware of the hesitation of his judges. He was too much of a gambler not to embrace Fate. For him, life was always an unpredictable game, and he understood the usual odds favored the dealer.
6. A body of armed men accompanied the deported wickedness of Poker Flat to the outskirts of the settlement. Besides Mr. Oakhurst, who was known to be a coolly desperate man, and for whose intimidation the armed escort was intended, the expatriated party consisted of a young woman familiarly known as “The Duchess”; another, who had First group of characters. gained the infelicitous title of “Mother Shipton”; and “Uncle Billy,” a suspected sluice-robber and confirmed drunkard. Climax of first crisis.The cavalcade provoked no comments from the spectators, nor was any word uttered by the escort. End of Introduction and groundwork.Only, when the gulch which marked the uttermost limit of Poker Flat was reached, the leader spoke briefly and to the point. The exiles were forbidden to return at the peril of their lives.
6. A group of armed men escorted the expelled troublemakers from Poker Flat to the edge of the settlement. Along with Mr. Oakhurst, who was known to be dangerously calm and for whom the armed guard was meant as a threat, the group included a young woman known as "The Duchess"; another woman who had earned the unfortunate nickname "Mother Shipton"; and "Uncle Billy," a suspected sluice thief and confirmed drunkard. The procession attracted no comments from onlookers, nor did the escort say a word. Only when they reached the gulch that marked the absolute boundary of Poker Flat did the leader speak briefly and directly. The exiles were warned not to return on pain of death.
Is “their” well used?
7. As the escort disappeared, their pent-up feelings found vent in a few hysterical tears from the Duchess,[Pg 262] some bad language from Mother Shipton, and a Parthian volley of expletives from Uncle Billy. The philosophic Oakhurst alone remained silent. He listened calmly to Mother Shipton’s desire to cut somebody’s heart out, to the repeated statements of the Duchess that she would die in the road, and to the alarming oaths that seemed to be bumped out of Uncle Billy as he rode forward.Paragraph of character delineation. With the easy good-humor characteristic of his class, he insisted upon exchanging his own riding-horse, “Five Spot,” for the sorry mule which the Duchess rode. But even this act did not draw the party into any closer sympathy. The young woman readjusted her somewhat draggled plumes with a feeble, faded coquetry; Mother Shipton eyed the possessor of “Five Spot” with malevolence, and Uncle Billy included the whole party in one sweeping anathema.
7. As the escort vanished, their bottled-up emotions burst forth with a few hysterical tears from the Duchess, some harsh language from Mother Shipton, and a barrage of curses from Uncle Billy. Only the calm Oakhurst stayed silent. He listened without reacting to Mother Shipton’s threats to hurt someone, to the Duchess’s repeated claims that she would collapse in the road, and to Uncle Billy’s alarming swearing as he rode ahead. Paragraph of character description. With the easygoing humor typical of his background, he insisted on trading his own horse, “Five Spot,” for the sorry mule that the Duchess was riding. But even this gesture didn’t bring the group any closer. The young woman adjusted her somewhat tattered feathers with a weak, faded charm; Mother Shipton glared at the owner of “Five Spot” with hostility, and Uncle Billy directed a broad curse at the entire group. [Pg 262]
8. The road to Sandy Bar—a camp that, not having as yet experienced the regenerating influences of Poker Flat, consequently seemed to offer some invitation to the emigrants—lay over a steep mountain range. It was distant a day’s severe journey. In that advanced season, the party soon passed out of the moist, temperate regions of the foothills into the dry, cold, bracing air of the Sierras. The trail was narrow and difficult. Foundation for Main Crisis. At noon the Duchess, rolling out of her saddle[Pg 263] upon the ground, declared her intention of going no further, and the party halted.
8. The road to Sandy Bar—a camp that, not having yet felt the transformative effects of Poker Flat, seemed to offer some appeal to the emigrants—traversed a steep mountain range. It was a day’s tough journey away. By that time of year, the group quickly moved out of the damp, mild regions of the foothills into the dry, cold, invigorating air of the Sierras. The trail was narrow and challenging. Foundation for Major Crisis. At noon, the Duchess rolled off her saddle and onto the ground, announcing her decision to go no further, prompting the party to stop.
9. The spot was singularly wild and impressive. A wooded amphitheatre, surrounded on three sides by precipitous cliffs of naked granite, sloped gently toward the crest of another precipice that overlooked the valley. It was, undoubtedly, the most suitable spot for a camp, had camping been advisable. But Mr. Oakhurst knew that scarcely half the journey to Sandy Bar was accomplished, and the party were not equipped or provisioned for delay. This fact he pointed out to his companions curtly, with a philosophic commentary on the folly of “throwing up their hand before the game was played out.” But they were furnished with liquor, which in this emergency stood them in place of food, fuel, rest, and prescience. In spite of his remonstrances, it was not long before they were more or less under its influence. Character contrasts.Uncle Billy passed rapidly from a bellicose state into one of stupor, the Duchess became maudlin, and Mother Shipton snored. Mr. Oakhurst alone remained erect, leaning against a rock, calmly surveying them.
9. The place was incredibly wild and impressive. A wooded amphitheater, surrounded on three sides by steep cliffs of bare granite, sloped gently toward the edge of another cliff that looked over the valley. It was definitely the best spot for a campsite, if camping had been a good idea. But Mr. Oakhurst knew they had barely made it halfway to Sandy Bar, and the group wasn’t prepared or stocked for any delays. He pointed this out to his companions bluntly, with a philosophical comment on the foolishness of “giving up before the game was finished.” However, they had alcohol, which in this situation served as food, fuel, rest, and foresight. Despite his protests, it wasn’t long before they were all somewhat under its influence. Character oppositions. Uncle Billy quickly went from being combative to being half-asleep, the Duchess got emotional, and Mother Shipton was snoring. Mr. Oakhurst was the only one who stayed upright, leaning against a rock and calmly watching them.
10. Mr. Oakhurst did not drink. It interfered with a profession which required coolness, impassiveness and presence of mind, and, in his own language, he “couldn’t afford it.” As he gazed at his recumbent fellow-exiles,[Pg 264] the loneliness begotten of his pariah-trade, his habits of life, his very vices, for the first time seriously oppressed him. He bestirred himself in dusting his black clothes, washing his hands and face, and other acts characteristic of his studiously neat habits, and for a moment forgot his annoyance. The thought of deserting his weaker and more pitiable companions never perhaps occurred to him. Yet he could not help feeling the want of that excitement which, singularly enough, was most conducive to that calm equanimity for which he was notorious. He looked at the gloomy walls that rose a thousand feet sheer above the circling pines around him; at the sky, ominously clouded; at the valley below, already deepening into shadow. And, doing so, suddenly he heard his own name called.
10. Mr. Oakhurst didn’t drink. It got in the way of a job that needed coolness, composure, and quick thinking, and, as he put it, he “couldn’t afford it.” As he looked at his fellow exiles lying down, the loneliness from his outcast lifestyle, his way of living, and even his own vices began to weigh heavily on him for the first time. He got busy dusting off his black clothes, washing his hands and face, and doing other things typical of his meticulously neat habits, which made him temporarily forget his irritation. The idea of abandoning his weaker and more pitiful companions probably never crossed his mind. Still, he couldn’t shake the feeling that he missed the excitement that, oddly enough, was what usually helped him maintain the calm composure he was known for. He glanced at the dark walls towering a thousand feet straight up above the surrounding pines, at the ominously cloudy sky, and at the valley below, which was already sinking into shadow. And while doing so, he suddenly heard someone call his name.
11. A horseman slowly ascended the trail. In the fresh, open face of the newcomer Mr. Oakhurst recognized Tom Simson, otherwise known as “The Innocent” of Sandy Bar. He had met him some months before over a “little game,” and had, with perfect equanimity, won the entire fortune—amounting to some forty dollars—of that guileless youth. Opening of Main Plot Situation. After the game was finished, Mr. Oakhurst drew the youthful speculator behind the door and thus addressed him: “Tommy, you’re a good little man, but you can’t gamble worth a cent. Don’t try it over[Pg 265] again.” He then handed him his money back, pushed him gently from the room, and so made a devoted slave of Tom Simson.
11. A horseman slowly rode up the trail. In the fresh, open face of the newcomer, Mr. Oakhurst recognized Tom Simson, known as “The Innocent” from Sandy Bar. He had met him a few months earlier during a “little game” and had calmly won the entire fortune—about forty dollars—of that naive young man. Start of Main Plot Situation. After the game ended, Mr. Oakhurst pulled the young speculator aside and said, “Tommy, you’re a good kid, but you can’t gamble to save your life. Don’t try it again.” He then gave him his money back, gently pushed him out of the room, and thus made a devoted follower out of Tom Simson.
12. There was a remembrance of this in his boyish and enthusiastic greeting of Mr. Oakhurst. He had started, he said, to go to Poker Flat to seek his fortune. “Alone?” No, not exactly alone; in fact (a giggle), he had run away with Piney Woods. Didn’t Mr. Oakhurst remember Piney? She that used to wait on the table at the Temperance House? They had been engaged a long time, but old Jake Woods had objected, and so they ran away, and were going to Poker Flat to be married, and here they were. And they were tired out, and how lucky it was they had found a place to camp, and company. All this the Innocent delivered rapidly, while Piney, a stout, comely damsel of fifteen, emerged from behind the pine-tree, where she had been blushing unseen, and rode to the side of her lover.
12. He greeted Mr. Oakhurst with a youthful and excited enthusiasm that hinted at his past. He said he had set out for Poker Flat to find his fortune. “By yourself?” Not exactly; in fact (with a giggle), he had run away with Piney Woods. Didn’t Mr. Oakhurst remember Piney? She used to serve at the Temperance House, right? They had been engaged for a long time, but old Jake Woods had disapproved, so they ran away and were on their way to Poker Flat to get married, and here they were. They were exhausted, and how lucky they were to find a place to camp and have company. The Innocent shared all this quickly while Piney, a sturdy and attractive girl of fifteen, stepped out from behind the pine tree, where she had been blushing out of sight, and rode up to her boyfriend.
13. Mr. Oakhurst seldom troubled himself with sentiment, still less with propriety; but he had a vague idea that the situation was not felicitous. He retained, however, his presence of mind sufficiently to kick Uncle Billy, who was about to say something, and Uncle Billy was sober enough to recognize in Mr. Oakhurst’s kick a superior power that would not bear trifling. He then endeavored to dissuade Tom Simson from delaying[Pg 266] further, but in vain. He even pointed out the fact that there was no provision, nor means of making a camp. But, unluckily, the Innocent met this objection by assuring the party that he was provided with an extra mule loaded with provisions, and by the discovery of a rude attempt at a log-house near the trail. “Piney can stay with Mrs. Oakhurst,” said the Innocent, pointing to the Duchess, “and I can shift for myself.”
13. Mr. Oakhurst rarely concerned himself with feelings, let alone what was proper; but he had a sense that the situation was not ideal. Still, he kept his cool enough to kick Uncle Billy, who was about to speak, and Uncle Billy was sober enough to recognize Mr. Oakhurst's kick as a sign of authority that shouldn’t be tested. He then tried to convince Tom Simson not to delay any longer, but it was useless. He even pointed out that there was no food or way to set up camp. Unfortunately, the Innocent countered this by claiming he had an extra mule loaded with supplies, and they’d found a rough attempt at a log cabin near the trail. “Piney can stay with Mrs. Oakhurst,” said the Innocent, pointing to the Duchess, “and I can take care of myself.”
14. Nothing but Mr. Oakhurst’s admonishing foot saved Uncle Billy from bursting into a roar of laughter. As it was, he felt compelled to retire up the cañon until he could recover his gravity. There he confided the joke to the tall pine-trees, with many slaps of his leg, contortions of his face, and the usual profanity. But when he returned to the party, he found them seated by a fire—for the air had grown strangely chill and the sky overcast—in apparently amicable conversation. Piney was actually talking in an impulsive, girlish fashion to the Duchess, who was listening with an interest and animation she had not shown for many days. The Innocent was holding forth, apparently with equal effect, to Mr. Oakhurst and Mother Shipton, who was actually relaxing into amiability. “Is this yer a d—d picnic?” said Uncle Billy, with inward scorn, as he surveyed the sylvan group, the glancing firelight,[Pg 267] and the tethered animals in the foreground.Foundation for Main Crisis—not yet apparent. Suddenly an idea mingled with the alcoholic fumes that disturbed his brain. It was apparently of a jocular nature, for he felt impelled to slap his leg again and cram his fist into his mouth.
14. If it hadn't been for Mr. Oakhurst’s warning glance, Uncle Billy would have burst out laughing. Instead, he felt he had to step away into the canyon until he could get himself together. There, he shared the joke with the tall pine trees, slapping his leg, making funny faces, and cursing like usual. But when he returned to the group, he found them gathered around a fire, as the air had turned oddly chilly and the sky was overcast, engaged in what seemed like friendly conversation. Piney was actually chatting impulsively, like a young girl, with the Duchess, who was listening with an interest and animation she hadn't shown in days. The Innocent was similarly lively, talking to Mr. Oakhurst and Mother Shipton, who was starting to show a bit of friendliness. “Is this a damn picnic?” Uncle Billy thought to himself with disdain as he took in the scene of the group in the woods, the flickering firelight, and the animals tied up in the front. Suddenly, an idea mixed with the alcohol buzzing in his head. It seemed funny because he felt the urge to slap his leg again and stuff his fist into his mouth.
15. As the shadows crept slowly up the mountain, a slight breeze rocked the tops of the pine-trees, and moaned through their long and gloomy aisles. The ruined cabin, patched and covered with pine-boughs, was set apart for the ladies. As the lovers parted, they unaffectedly exchanged a parting kiss, so honest and sincere that it might have been heard above the swaying pines. The frail Duchess and the malevolent Mother Shipton were probably too stunned to remark upon this last evidence of simplicity, and so turned without a word to the hut. The fire was replenished, the men lay down before the door, and in a few minutes were asleep.
15. As the shadows slowly climbed up the mountain, a gentle breeze swayed the tops of the pine trees and whispered through their long, dark aisles. The rundown cabin, patched up and covered with pine branches, was reserved for the ladies. As the lovers said goodbye, they shared a parting kiss that was so genuine and heartfelt it could have been heard above the rustling pines. The delicate Duchess and the spiteful Mother Shipton were likely too shocked to comment on this last display of innocence, so they turned without a word towards the hut. The fire was stoked, the men lay down in front of the door, and within minutes, they were asleep.
16. Mr. Oakhurst was a light sleeper. Toward morning he awoke benumbed and cold. As he stirred the dying fire, the wind, which was now blowing strongly, brought to his cheek that which caused the blood to leave it—snow!
16. Mr. Oakhurst was a light sleeper. Toward morning, he woke up numb and cold. As he poked the dying fire, the wind, which was now blowing hard, brought to his cheek something that made the blood drain from it—snow!
17. He started to his feet with the intention of awakening the sleepers, for there was no time to lose. But turning to where Uncle Billy had been lying, he found him gone. A suspicion leaped to his brain and a[Pg 268] curse to his lips. He ran to the spot where the mules had been tethered; they were no longer there. The tracks were already rapidly disappearing in the snow.
17. He jumped to his feet, determined to wake everyone up because there was no time to waste. But when he turned to where Uncle Billy had been lying, he realized he was gone. A suspicion flashed in his mind and a curse slipped from his lips. He dashed over to where the mules had been tied up; they were gone too. The tracks were already quickly fading away in the snow.
18. The momentary excitement brought Mr. Oakhurst back to the fire with his usual calm. He did not waken the sleepers. The Innocent slumbered peacefully, with a smile on his good-humored, freckled face; the virgin Piney slept beside her frailer Contrast with crisis. Note casual physical description. sisters as sweetly as though attended by celestial guardians, and Mr. Oakhurst, drawing his blanket over his shoulders, stroked his mustaches and waited for the dawn. It came slowly Main Plot Incident—What follows is its outgrowth. in a whirling mist of snow-flakes, that dazzled and confused the eye. What could be seen of the landscape appeared magically changed.Crisis acute. He looked over the valley, and summoned up the present and future in two words,—“snowed in!”
18. The brief excitement brought Mr. Oakhurst back to the fire with his usual calm. He didn't wake the sleepers. The Innocent slept peacefully, a smile on his cheerful, freckled face; the pure Piney lay beside her more fragile sisters, sleeping sweetly as if protected by heavenly guardians. Mr. Oakhurst, pulling his blanket over his shoulders, stroked his mustaches and waited for dawn. It arrived slowly in a swirling mist of snowflakes that dazzled and disoriented the eye. What could be seen of the landscape looked magically transformed. He gazed over the valley and summed up the present and future in two words—"snowed in!"
19. A careful inventory of the provisions, which, fortunately for the party, had been stored within the hut, and so escaped the felonious fingers of Uncle Billy, disclosed the fact that with care and prudence they might last ten days longer. “That is,” said Mr. Oakhurst, sotto voce to the Innocent, “if you’re willing to board us. If you ain’t—and perhaps you’d better not—you can wait till Uncle Billy gets back with provisions.” For some occult reason, Mr. Oakhurst could not bring himself to disclose Uncle Billy’s rascality, and[Pg 269] so offered the hypothesis that he had wandered from the camp and had accidentally stampeded the animals. He dropped a warning to the Duchess and Mother Shipton, who of course knew the facts of their associate’s defection. “They’ll find out the truth about us all when they find out anything,” he added, significantly, “and there’s no good frightening them now.”
19. A thorough check of the supplies, which thankfully for the group had been kept inside the hut, revealed that with some care and caution they could last another ten days. “That is,” Mr. Oakhurst said quietly to the Innocent, “if you’re willing to take care of us. If not—and maybe you shouldn’t—you can wait until Uncle Billy returns with more supplies.” For some unknown reason, Mr. Oakhurst couldn’t bring himself to reveal Uncle Billy’s mischief, so he suggested that he must have gotten lost from the camp and accidentally scared off the animals. He gave a heads-up to the Duchess and Mother Shipton, who naturally knew the truth about their companion's misadventure. “They’ll figure out the truth about us all when they find out anything,” he added meaningfully, “and there’s no point in scaring them now.”
20. Tom Simson not only put all his worldly store at the disposal of Mr. Oakhurst, but seemed to enjoy the prospect of their enforced seclusion. “We’ll have a good camp for a week, and then the snow’ll melt, and we’ll all go back together.” The From this point the story develops gradually and by closely knit incidents in direct succession, all growing out of the setting, which furnishes the physical crisis. cheerful gayety of the young man, and Mr. Oakhurst’s calm infected the others. The Innocent, with the aid of pine-boughs, extemporized a thatch for the roofless cabin, and the Duchess directed Piney in the rearrangement of the interior with a taste and tact that opened the blue eyes of that provincial maiden to their fullest extent. “I reckon now you’re used to fine things at Poker Flat,” said Piney. The Duchess turned away sharply to conceal something that reddened her cheek through its professional tint, and Mother Shipton requested Piney not to “chatter.” Pseudo crisis.But when Mr. Oakhurst returned from a weary search for the trail, he heard the sound of happy laughter echoed from the rocks. He stopped in some alarm,[Pg 270] and his thoughts first naturally reverted to the whiskey, which he had prudently cachéd. “And yet it don’t somehow sound like whiskey,” said the gambler. Resolution of pseudo crisis.It was not until he caught sight of the blazing fire through the still blinding storm and the group around it that he settled to the conviction that it was “square fun.”
20. Tom Simson not only put all his belongings at the disposal of Mr. Oakhurst, but he also seemed to enjoy the idea of their forced isolation. “We’ll have a good camp for a week, and then the snow will melt, and we’ll all go back together.” The From this point on, the story unfolds gradually through a series of closely related events in direct succession, all stemming from the setting, which provides the physical conflict. The cheerful energy of the young man and Mr. Oakhurst’s calm attitude influenced the others. The Innocent, with the help of pine boughs, quickly created a cover for the roofless cabin, while the Duchess guided Piney in rearranging the interior with a style and skill that amazed the provincial girl. “I guess now you’re used to nice things at Poker Flat,” said Piney. The Duchess quickly looked away to hide something that made her cheek blush beneath her makeup, and Mother Shipton asked Piney not to “chatter.” Fake crisis. But when Mr. Oakhurst returned from a long search for the trail, he heard the sound of joyful laughter echoing from the rocks. He paused, somewhat alarmed,[Pg 270] and his thoughts naturally went to the whiskey he had wisely hidden away. “And yet it doesn’t really sound like whiskey,” said the gambler. Resolution of fake crisis. It was not until he saw the bright fire through the still blinding storm and the group around it that he convinced himself it was “just good fun.”
21. Whether Mr. Oakhurst had cachéd his cards with the whiskey as something debarred the free access of the community, I cannot say. Contrast with the actual danger. It was certain that, in Mother Shipton’s words, he “didn’t say cards once” during the evening. Haply the time was beguiled by an accordion, produced somewhat ostentatiously by Tom Simson from his pack. Notwithstanding some difficulties attending the manipulation of his instrument, Contrast is the author’s main reliance in this story. Piney Woods managed to pluck several reluctant melodies from its keys, to an accompaniment by the Innocent on a pair of bone castanets. But the crowning festivity of the evening was reached in a rude camp-meeting Contrast with character-habits. A hint of character change. hymn, which the lovers, joining hands, sang with great earnestness and vociferation. I fear that a certain defiant tone and Covenanter’s swing to its chorus, Is “Covenanter’s” well used? rather than any devotional quality, caused it speedily to infect the others, who at last joined in the refrain:—
21. Whether Mr. Oakhurst had hidden his cards with the whiskey to keep them away from the community, I can’t say. Contrast with the real danger. What’s clear is that, in Mother Shipton’s words, he “didn’t mention cards once” that evening. Perhaps the time was taken up by an accordion that Tom Simson took out somewhat showily from his pack. Despite some challenges in playing his instrument, Contrast is the author’s primary tool in this story. Piney Woods managed to coax several hesitant tunes from its keys, accompanied by the Innocent on a pair of bone castanets. But the highlight of the evening was a rough camp-meeting Compare with character traits. A suggestion of character development. hymn, which the lovers, hand in hand, sang with great seriousness and enthusiasm. I’m afraid that a certain defiant tone and a Covenanter’s swing to its chorus, Is "Covenanter's" used correctly? rather than any spiritual quality, quickly spread to the others, who eventually joined in the refrain:—
“I’m proud to live in the service of the Lord,
And I’m bound to die in His army.”
“I’m proud to serve the Lord,
And I’m committed to die in His army.”
[Pg 271]
[Pg 271]
22. The pines rocked, the storm eddied and whirled above the miserable group, and the flames of their altar leaped heavenward, as if in token of the vow.
22. The pines swayed, the storm swirled above the miserable group, and the flames of their altar shot up to the sky, as if to signify the vow.
23. At midnight the storm abated, the rolling clouds parted, and the stars glittered keenly above the sleeping camp. Mr. Oakhurst, whose professional habits had enabled him to live on the smallest possible amount of sleep, in dividing the watch with Tom Simson, somehow managed to take upon himself the greater part of that duty. Character revelation.He excused himself to the Innocent, by saying that he had “often been a week without sleep.” “Doing what?” asked Tom. “Poker!” replied Oakhurst, sententiously; “when a man gets a streak of luck,—nigger-luck,—he don’t get tired. The luck gives in first. Luck,” continued the gambler, reflectively, “is a mighty queer thing. All you know about it for certain is that it’s bound to change. And it’s finding out when it’s going to change that makes you. We’ve had a streak of bad luck since we left Poker Flat,—you come along, and slap you get into it, too. If you can hold your cards right along, you’re all right. For,” added the gambler, with cheerful irrelevance:—
23. At midnight, the storm quieted down, the rolling clouds cleared, and the stars sparkled brightly over the sleeping camp. Mr. Oakhurst, whose job had trained him to get by on very little sleep, ended up taking on most of the watch while sharing it with Tom Simson. Character development. He justified this to the Innocent by saying he had "often gone a week without sleep." "Doing what?" Tom asked. "Poker!" Oakhurst responded, with a serious tone; "when a guy gets on a lucky streak—bad luck for others—he doesn’t get tired. Luck runs out first. Luck," he continued, in a thoughtful way, "is a really strange thing. The only thing you know for sure is that it’s always going to change. And figuring out when it’s going to change is what makes you. We've had a run of bad luck since we left Poker Flat—then you show up, and boom, you’re in it too. If you can just keep your cards held right, you’ll be fine. Because," added the gambler, with a cheerful nonchalance:—
“‘I’m proud to live in the service of the Lord,
And I’m bound to die in His army’.”
“I’m proud to serve the Lord,
And I’m determined to die in His army.”
24. The third day came, and the sun, looking through the white-curtained[Pg 272] valley, saw the outcasts divide their slowly decreasing store of provisions for the morning meal. It was one of the peculiarities of that mountain climate that its rays diffused a kindly warmth over the wintry landscape, as if in regretful commiseration of the past. Contrast.But it revealed drift on drift of snow piled high around the hut,—a hopeless, uncharted, trackless sea of white lying below the rocky shores to which the cast-aways still clung. Key to Setting.Through the marvellously clear air the smoke of the pastoral village of Poker Flat rose miles away. Mother Shipton saw it, and from a remote pinnacle of her rocky fastness, hurled in that direction a final malediction. Character change—a key passage.It was her last vituperative attempt, and perhaps for that reason was invested with a certain degree of sublimity. It did her good, she privately informed the Duchess. “Just you go out there and cuss, and see.” Contributory incident.She then set herself to the task of amusing “the child,” as she and the Duchess were pleased to call Piney. Piney was no chicken, but it was a soothing and ingenious theory of the pair thus to account for the fact that she didn’t swear and wasn’t improper.
24. The third day came, and the sun, shining through the white-curtained[Pg 272] valley, saw the outcasts dividing their slowly dwindling supply of food for breakfast. One odd thing about that mountain climate was how the sun's rays spread a gentle warmth over the wintry landscape, almost as if regretting what had happened in the past. Contrast. But it also revealed snow piled high around the hut—a hopeless, uncharted, trackless sea of white lying below the rocky shores that the castaways still clung to. Setting Key. Through the incredibly clear air, the smoke from the pastoral village of Poker Flat rose miles away. Mother Shipton saw it, and from a high point of her rocky refuge, she shouted one last curse in that direction. Character development—a key moment. It was her final angry attempt, and maybe that’s why it seemed to have a certain grandeur. She told the Duchess it made her feel better. “Just go out there and curse, and see.” Contributing incident. She then focused on keeping “the child” entertained, as she and the Duchess liked to call Piney. Piney was no baby, but the two of them found it comforting and clever to think of her this way since she didn’t swear and wasn’t improper.
25. When night crept up again through the gorges, the reedy notes of the accordion rose and fell in fitful spasms and long-drawn gasps by the flickering camp-fire. But music failed to fill entirely the aching void[Pg 273] left by insufficient food, and a new diversion was proposed by Piney,—story-telling. Neither Mr. Oakhurst nor his female companions caring to relate their personal experiences, this plan would have failed, too, but for the Innocent. Some months before he had chanced upon a stray copy of Mr. Pope’s ingenious translation of the Iliad. Developing or contributory incident.He now proposed to narrate the principal incidents of that poem—having thoroughly mastered the argument and fairly forgotten the words—in the current vernacular of Sandy Bar. And so for the rest of that night the Homeric demigods again walked the earth. Trojan bully and wily Greek wrestled in the winds, and the great pines in the cañon seemed to bow to the wrath of the son of Peleus. Mr. Oakhurst listened with quiet satisfaction. Most especially was he interested in the fate of “Ash-heels,” as the Innocent persisted in denominating the “swift-footed Achilles.”
25. As night fell again through the gorges, the soft sounds of the accordion rose and fell in fits and long breaths next to the flickering campfire. But the music couldn't completely fill the aching emptiness left by not enough food, so Piney suggested a new activity—storytelling. Neither Mr. Oakhurst nor the women wanted to share their personal stories, and this idea would have also failed if it weren't for the Innocent. A few months earlier, he had stumbled upon a stray copy of Mr. Pope’s clever translation of the Iliad. He now offered to tell the main events of that poem—having grasped the plot and mostly forgotten the words—in the local slang of Sandy Bar. And so for the rest of that night, the heroes of Homer walked the earth again. Trojans and clever Greeks fought in the winds, and the majestic pines in the canyon seemed to bend to the fury of the son of Peleus. Mr. Oakhurst listened with quiet satisfaction. He was especially interested in the fate of “Ash-heels,” as the Innocent insisted on calling the “swift-footed Achilles.”[Pg 273]
Note the contrast between the epithet “outcasts” and the feeling with which they are now invested.
26. So with small food and much of Homer and the accordion, a week passed over the heads of the outcasts. The sun again forsook them, and again from leaden skies the snow-flakes were sifted over the land. Day by day closer around them drew the snowy circle, until at last they looked from their prison over drifted walls of dazzling white, that towered twenty feet above their heads. It became more and more difficult to replenish their fires, even from the[Pg 274] fallen trees beside them, now half hidden in the drifts. And yet no one complained. The lovers turned from the dreary prospect and looked into each other’s eyes, and were happy. Character progress. Mr. Oakhurst settled himself coolly to the losing game before him. The Duchess, more cheerful than she had been, assumed the care of Piney.Hint of later character revelation. Only Mother Shipton—once the strongest of the party—seemed to sicken and fade. At midnight on the tenth day she called Oakhurst to her side. “I’m going,” she said, in a voice of querulous weakness, “but don’t say anything about it. Don’t waken the kids. Take the bundle from under my head and open it.” Mr. Oakhurst did so. It contained Mother Shipton’s rations for the last week, untouched. “Give ’em to the child,” she said, pointing to the sleeping Piney. “You’ve starved yourself,” said the gambler. First Character Climax.“That’s what they call it,” said the woman, querulously, as she lay down again, and, turning her face to the wall, passed quietly away.
26. So with little food and a lot of Homer and the accordion, a week went by for the outcasts. The sun abandoned them again, and once more, the snowflakes fell from the heavy skies onto the land. Day by day, the snowy circle tightened around them until they could only see over drifted walls of bright white that rose twenty feet above their heads. It became increasingly difficult to keep their fires going, even with the fallen trees nearby, now half-buried in the drifts. Still, no one complained. The lovers turned away from the bleak view and gazed into each other’s eyes, finding happiness. Character development. Mr. Oakhurst calmly faced the losing game ahead. The Duchess, in a more cheerful mood, took care of Piney.Foreshadowing of future character reveal. Only Mother Shipton—once the strongest of the group—seemed to weaken and fade. At midnight on the tenth day, she called Oakhurst to her side. “I’m going,” she said, her voice weak and complaining, “but don’t say anything about it. Don’t wake the kids. Take the bundle from under my head and open it.” Mr. Oakhurst did as she asked. It contained Mother Shipton’s rations for the last week, untouched. “Give them to the child,” she said, pointing to the sleeping Piney. “You’ve starved yourself,” said the gambler. First Character Climax. “That’s what they call it,” she replied weakly, turning her face to the wall and quietly passing away.
27. The accordion and the bones were put aside that day, and Homer was forgotten. When the body of Mother Shipton had been committed to the snow, Mr. Oakhurst took the Innocent aside, and showed him a pair of snow-shoes, which he had fashioned from the old pack-saddle.Plot Incident. “There’s one chance in a hundred to save her yet,” he said, pointing to Piney; “but it’s there,” he added,[Pg 275] pointing toward Poker Flat. “If you can reach there in two days she’s safe.” “And you?” asked Tom Simson. “I’ll stay here,” was the curt reply.
27. The accordion and the bones were set aside that day, and Homer was forgotten. After Mother Shipton's body had been laid in the snow, Mr. Oakhurst took the Innocent aside and showed him a pair of snowshoes he had made from the old pack-saddle.Plot Twist. “There’s a one in a hundred chance to save her,” he said, pointing to Piney; “but it’s over there,” he added,[Pg 275] gesturing toward Poker Flat. “If you can get there in two days, she’ll be safe.” “And you?” asked Tom Simson. “I’ll stay here,” was the blunt reply.
28. The lovers parted with a long embrace. “You are not going, too?” said the Duchess, as she saw Mr. Oakhurst apparently waiting to accompany him. Preparation for climax.“As far as the cañon,” he replied. He turned suddenly, and kissed the Duchess, leaving her pallid face aflame, and her trembling limbs rigid with amazement.
28. The lovers said goodbye with a long embrace. “You’re not leaving too?” asked the Duchess as she noticed Mr. Oakhurst seemingly ready to join him. Getting ready for climax. “Just to the canyon,” he replied. He suddenly turned and kissed the Duchess, leaving her pale face flushed and her trembling limbs stiff with astonishment.
29. Night came, but not Mr. Oakhurst. It brought the storm again and the whirling snow. Then the Duchess, feeding the fire, found that some one had quietly piled beside the hut enough fuel to last a few days longer. The tears rose to her eyes, but she hid them from Piney.
29. The night arrived, but Mr. Oakhurst did not. The storm returned with swirling snow. As the Duchess tended to the fire, she discovered that someone had quietly stacked enough firewood next to the hut to last for a few more days. Tears welled up in her eyes, but she kept them hidden from Piney.
30. The women slept but little. In the morning, looking into each other’s faces, they read their fate. Neither spoke; but Piney, accepting the position of the stronger, drew near and placed her arm around the Duchess’s Note the repression of this entire climax. Simple, quiet sentences are enough. waist. They kept this attitude for the rest of the day. That night the storm reached its greatest fury, and, rending asunder the protecting pines, invaded the very hut.
30. The women hardly slept at all. In the morning, they glanced at each other’s faces and understood their fate. Neither said a word; but Piney, recognizing her role as the stronger one, moved closer and put her arm around the Duchess’s waist. They maintained this position for the rest of the day. That night, the storm hit its peak intensity, tearing apart the protective pines and invading the very hut. Notice the suppression of this whole peak. Simple, straightforward sentences are sufficient.
31. Toward morning they found themselves unable to feed the fire, which gradually died away. As the embers slowly blackened, the Duchess crept closer to Piney, and broke the silence of many hours: “Piney,[Pg 276] can you pray?”No melodrama here. “No, dear,” said Piney, simply. The Duchess, without knowing exactly why, felt relieved, and putting her head upon Piney’s shoulder, spoke no more.Second Character Climax. And so reclining, the younger and purer pillowing the head of her soiled sister upon her virgin breast, they fell asleep.
31. Toward morning, they realized they couldn't keep the fire going, and it gradually went out. As the embers slowly turned to ash, the Duchess moved closer to Piney and broke the long silence: “Piney, [Pg 276] can you pray?” No drama here. “No, dear,” Piney replied simply. The Duchess felt a sense of relief for reasons she didn't fully understand, and resting her head on Piney’s shoulder, she said nothing more. Second Character Climax. And so, lying there, the younger and purer one cradling the head of her troubled sister against her innocent breast, they fell asleep.
32. The wind lulled as if it feared to waken them. Feathery drifts of snow, shaken from the long pine-boughs, flew like white-winged birds, and settled about them as they slept. The moon through the rifted clouds looked down upon what had been the camp. Symbolism of physical nature.But all human stain, all trace of earthly travail, was hidden beneath the spotless mantle mercifully flung from above.
32. The wind calmed down, almost like it was afraid to wake them. Light drifts of snow, shaken from the long pine branches, soared like white-winged birds and settled around them while they slept. The moon peeked through the broken clouds and looked down on what used to be the camp. Symbolism of the natural world. But all traces of human flaws and earthly struggles were concealed beneath the pure blanket that was gently thrown over them from above.
33. They slept all that day and the next, nor did they waken when voices and footsteps broke the silence of the camp. And when pitying fingers brushed the snow from their wan faces, you could scarcely have told from the equal peace that dwelt upon them, which was she that had sinned. Even the law of Poker Flat recognized this, and turned away, leaving them still locked in each other’s arms.
33. They slept all that day and the next, and didn’t wake up when voices and footsteps disturbed the quiet of the camp. When sympathetic hands brushed the snow off their pale faces, you could barely tell from the calm look on them which one had sinned. Even the law of Poker Flat acknowledged this and turned away, leaving them still wrapped in each other's arms.
34. But at the head of the gulch, on one of the largest pine-trees, they found the deuce of clubs pinned to the bark with a bowie-knife. It bore the following, written in pencil, in a firm hand:—
34. But at the top of the gulch, on one of the biggest pine trees, they found the deuce of clubs stuck to the bark with a bowie knife. It had the following message written in pencil, in a steady hand:—
BENEATH THIS TREE
LIES THE BODY
OF
JOHN OAKHURST,
WHO STRUCK A STREAK OF BAD LUCK
ON THE 23D OF NOVEMBER, 1850,
AND
HANDED IN HIS CHECKS
ON THE 7TH DECEMBER, 1850.
BENEATH THIS TREE
LIES THE BODY
OF
JOHN OAKHURST,
WHO RAN INTO A STREAK OF BAD LUCK
ON NOVEMBER 23, 1850,
AND
THEN PASSED AWAY
ON DECEMBER 7, 1850.
And pulseless and cold, with a derringer by his side and a bullet in his heart, though still calm as in life, beneath the snow lay he who was at once the strongest and yet the weakest of the outcasts of Poker Flat.
And lifeless and cold, with a small pistol by his side and a bullet in his heart, still calm as he was in life, beneath the snow lay the one who was both the strongest and yet the weakest of the rejects from Poker Flat.
[Pg 277]
[Pg 277]
MAUPASSANT AND HIS WRITINGS
Henri René Albert Guy de Maupassant was born in Normandy, France, in 1850. In that picturesque region he passed his youth, and returned thither for frequent sojourns in later life. Having finished his studies, he became an employé in the government service in Paris. This experience, his love for athletics, and his recollections of the Franco-Prussian war, he turned to good account in his fictional work. His literary education was conducted by Gustave Flaubert, his uncle and god-father, under whom he served so rigid an apprenticeship that when he produced his first short-story, “Tallow Ball” (Boule de Suif), his preceptor pronounced it a masterpiece, as indeed it is. He died in 1893, at the age of 43, by his own hand, his reason having failed after some years of increasing depression and gloom.
Henri René Albert Guy de Maupassant was born in Normandy, France, in 1850. In that beautiful region, he spent his youth and returned there often later in life. After completing his studies, he worked in the government service in Paris. He made good use of this experience, his passion for sports, and his memories of the Franco-Prussian War in his writing. His literary mentor was Gustave Flaubert, his uncle and godfather, under whom he underwent such a strict apprenticeship that when he wrote his first short story, “Tallow Ball” (Boule de Suif), his teacher called it a masterpiece, and it truly is. He died in 1893 at the age of 43, taking his own life after several years of worsening depression and despair.
[Pg 278]
[Pg 278]
Though his productive period covered only ten years, Guy de Maupassant has left several notable novels, some fair poetry, and a large number of remarkable short-stories. Most of his work deals more frankly with the sordid side of life than American society approves, but many of his short-stories are unexceptionable. Among the best of these are “The Necklace,” “The Horla,” “Happiness,” “Vain Beauty,” “A Coward,” “A Ghost,” “Little Soldier,” “The Wolf,” “Moonlight,” and “The Piece of String.”
Though his productive period lasted only ten years, Guy de Maupassant left behind several notable novels, some decent poetry, and a large number of impressive short stories. Most of his work addresses the darker side of life more openly than American society typically accepts, but many of his short stories are perfectly fine. Among the best of these are “The Necklace,” “The Horla,” “Happiness,” “Vain Beauty,” “A Coward,” “A Ghost,” “Little Soldier,” “The Wolf,” “Moonlight,” and “The Piece of String.”
Technically, Maupassant was the most finished short-story writer of all; but he lacked spiritual power, and so he himself missed much of the world’s beauty, and disclosed but little to others. Rarely can the reader feel the least throb of sympathy of the author for his characters. Technically flawless, his work is too often cold, and the warm ideals of a tender heart are chiefly absent. An inflexible realist, he pressed his method farther than did Flaubert, a really strong novelist. From life’s raw materials Maupassant wove incomparably brilliant fiction-fabrics, equally distinguished for plot, characterization, and style; but it cannot be said that he interpreted life with a wholesome, uplifting spirit.
Technically, Maupassant was the most accomplished short-story writer of all time; however, he lacked emotional depth, which meant he missed much of the world's beauty and shared little of it with others. Readers rarely sense any sympathy from the author for his characters. While his work is technically flawless, it often feels cold, lacking the warm ideals of a compassionate heart. As a strict realist, he pushed his method further than Flaubert, who was a truly powerful novelist. Using life's raw materials, Maupassant crafted brilliantly imaginative stories, renowned for their plots, characters, and style; yet, it can't be said that he portrayed life with a healthy, uplifting spirit.
Happy are they whom life satisfies, who can amuse themselves, and be content ... who have not discovered, with a vast disgust, ... that all things are a weariness.—Guy de Maupassant.
Happy are those whom life satisfies, who can entertain themselves and feel content ... who have not realized, with great disgust, ... that everything is exhausting.—Guy de Maupassant.
He who destroys the ideal destroys himself. In art and in life Maupassant lived in the lower order of facts, the brutal world of events unrelated to a spiritual order. He drained his senses of the last power of sensation and reaction; he plunged[Pg 279] headlong into the sensual life upon which they opened when the luminous heaven above the material world was obliterated. Madness always lies that way as a matter of physiology as well as of morals, and Maupassant went the tragic way of the sensualist since time began.—Hamilton W. Mabie, in The Outlook.
Those who ruin their ideals ruin themselves. In both art and life, Maupassant existed in a realm of raw facts, a harsh world of events disconnected from any spiritual meaning. He extracted every last bit of sensation and response from his senses; he dove headfirst into the sensory life that unfolded when the bright sky above the physical world was erased. Madness always lurks that way, both physically and morally, and Maupassant took the tragic path of the sensualist that has existed since time began.—Hamilton W. Mabie, in The Outlook.
Maupassant saw life with his senses, and he reflected on it in a purely animal revolt, the recoil of the hurt animal. His observation is not, as it has been hastily assumed to be, cold; it is as superficially emotional as that of the average sensual man, and its cynicism is only another, not less superficial, kind of feeling. He saw life in all its details, and his soul was entangled in the details. He saw it without order, without recompense, without pity; he saw it too clearly to be duped by appearances, and too narrowly to distinguish any light beyond what seemed to him the enclosing bounds of darkness.—Arthur Symons, Studies in Prose and Verse.
Maupassant experienced life through his senses and reacted to it in a raw, instinctive way, like a wounded animal. His perspective isn’t as cold as some have quickly judged; it’s just as emotionally surface-level as that of the typical pleasure-seeker, and his cynicism is just another form of shallow feeling. He perceived life in all its minute details, and these details ensnared his spirit. He saw life as chaotic, without reward, devoid of mercy; he viewed it too clearly to be misled by appearances and too narrowly to see any light beyond what he felt were the enclosing walls of darkness.—Arthur Symons, Studies in Prose and Verse.
He has produced a hundred short tales and only four regular novels; but if the tales deserve the first place in any candid appreciation of his talent it is not simply because they are so much the more numerous: they are also more characteristic; they represent him best in his originality, and their brevity, extreme in some cases, does not prevent them from being a collection of masterpieces.... What they have most in common is their being extremely strong, and after that their being extremely brutal.... M. de Maupassant sees human life as a terribly ugly business relieved by the comical, but even the comedy is for the most part the comedy of misery, of avidity, of ignorance, helplessness, and grossness.—Henry James, Partial Portraits.
He has written a hundred short stories and only four regular novels; but if the stories deserve top recognition in any honest evaluation of his talent, it's not just because they're so much more numerous: they also reflect his originality better; their brevity, sometimes extreme, doesn't stop them from being a collection of masterpieces... What they share the most is their incredible strength, and after that, their sheer brutality... M. de Maupassant views human life as a pretty ugly affair lightened by comedy, but even that comedy is mostly about misery, greed, ignorance, helplessness, and crudeness.—Henry James, Partial Portraits.
His short-stories are masterpieces of the art of story-telling, because he had a Greek sense of form, a Latin power of construction, and a French felicity of style. They are simple, most of them; direct, swift, inevitable, and inexorable in their straightforward movement. If art consists in the suppression of non-essentials, there have been few greater artists in fiction than[Pg 280] Maupassant. In his Short-stories there is never a word wasted, and there is never an excursus. Nor is there any feebleness or fumbling. What he wanted to do he did, with the unerring certainty of Leatherstocking, hitting the bull’s-eye again and again. He had the abundance and the ease of the very great artists; and the half-dozen or the half-score of his best stories are among the very best Short-stories in any language.—Brander Matthews, The Philosophy of the Short-Story.
His short stories are masterpieces of storytelling because he has a Greek sense of form, a Latin ability to construct, and a French flair for style. Most of them are simple, direct, swift, and relentless in their straightforward progression. If art is about eliminating what's unnecessary, then few have been greater artists in fiction than[Pg 280] Maupassant. In his short stories, there’s never a wasted word, and there’s no digression. There’s also no weakness or hesitation. What he aimed to achieve, he did, with the pinpoint accuracy of Leatherstocking, hitting the target time and again. He had the richness and ease of the very greatest artists, and the half-dozen or so of his best stories are among the best short stories in any language.—Brander Matthews, The Philosophy of the Short-Story.
His firm, alert prose is so profoundly French, free from neologisms, strong in verbs, sober in adjectives, every sentence standing out with no apparent effort, no excess, like a muscle in the perfect body of a young athlete.... He has that sense of the real which so many naturalists lack, and which the care for exact detail does not replace.... His predilection for ordinary scenes and ordinary types is everywhere evident; he uses all kinds of settings,—a café, a furnished room, a farmyard, seen in their actual character without poetic transfiguration, with all their vulgarity, their poverty, their ugliness. And he uses, too, all kinds of characters,—clerks, peasants of Normandy, petty bourgeois of Paris and of the country. They live the empty, tragic, or grotesque hours of their lives; are sometimes touching, sometimes odious; and never achieve greatness either in heroism or in wickedness.
His sharp, clear writing style is distinctly French, avoiding new and unnecessary words, strong in action verbs, and straightforward in adjectives. Each sentence stands out effortlessly, with no excess, like a muscle in the fit body of a young athlete. He has a grounded sense of reality that many naturalists lack, which can't be replaced by attention to detail. His preference for everyday situations and common characters is clear everywhere; he uses a variety of settings—a café, a furnished room, a farmyard—presented in their true form without any romantic embellishment, showcasing all their rawness, their poverty, their ugliness. He also highlights a range of characters—clerks, Normand peasants, lower-middle-class folks from Paris and the countryside. They go through the empty, tragic, or absurd moments of their lives; sometimes they are touching, sometimes they are despicable; and they never reach great heights in either heroism or villainy.
They are not gay, these stories; and the kind of amusement they afford is strongly mixed with irony, pity, and contempt. Gayety, whether brutal, frank, mocking, or delicate, never leaves this bitter taste in the heart. How pitiful in its folly, in its vanity, in its weakness, is the humanity which loves, weeps, or agitates in the tales of Maupassant! There, virtue if awkward is never recompensed, nor vice if skillful punished; mothers are not always saints, nor sons always grateful and respectful; the guilty are often ignorant of remorse. Then are these beings immoral? To tell the truth, they are guided by their instincts, by events, submissive to the laws of necessity, and apparently released by the author from all responsibility.—Firmin Roz, Guy de Maupassant, in Warner’s Library of the World’s Best Literature.
These stories aren't joyful; the amusement they provide is heavily mixed with irony, sorrow, and disdain. Joy, whether it's harsh, straightforward, mocking, or subtle, never leaves this bitter taste in your heart. How pitiful in its foolishness, vanity, and weakness is humanity that loves, cries, or struggles in Maupassant's tales! There, virtue, if clumsily portrayed, is never rewarded, nor is vice, if clever, punished; mothers aren't always saints, nor are sons always grateful and respectful; the guilty often lack any sense of remorse. So are these characters immoral? Honestly, they are driven by their instincts and circumstances, submissive to the laws of necessity, and seemingly freed by the author from any accountability. —Firmin Roz, Guy de Maupassant, in Warner's Library of the World’s Best Literature.
FURTHER REFERENCES FOR READING ON MAUPASSANT
FURTHER REFERENCES FOR READING ON MAUPASSANT
French Fiction of To-day, M. S. Van de Velde (1891); Some French Writers, Edward Delille (1893); Studies in Two Literatures, Arthur Symons (1897); French Literature of To-day, Yetta Blaze de Bury (1898); A Century of French Fiction, Benjamin W. Wells (1898); Contemporary French Novelists, René Doumic (1899).
French Fiction of Today, M. S. Van de Velde (1891); Some French Writers, Edward Delille (1893); Studies in Two Literatures, Arthur Symons (1897); French Literature of Today, Yetta Blaze de Bury (1898); A Century of French Fiction, Benjamin W. Wells (1898); Contemporary French Novelists, René Doumic (1899).
[Pg 281]
[Pg 281]
FOR ANALYSIS
FOR ANALYSIS
MOONLIGHT
(CLAIR DE LUNE)
Moonlight
BY GUY DE MAUPASSANT
BY GUY DE MAUPASSANT
The Abbé Marignan bore well his title of Soldier of the Church. He was a tall priest, and spare; fanatical, perpetually in a state of spiritual exaltation, but upright of soul. His every belief was settled, without even a thought of wavering. He imagined sincerely that he understood his God thoroughly, that he penetrated His designs, His will, His purposes.
The Abbé Marignan embraced his title of Soldier of the Church. He was a tall and lean priest, fanatical and constantly in a state of spiritual high, yet his soul was upright. Every one of his beliefs was firm, with not a single thought of changing. He truly believed that he understood his God completely, that he grasped His plans, His will, and His intentions.
2. As with long strides he promenaded the garden walk of his little country presbytery, sometimes a question would arise in his mind: “Why did God create that?” And, mentally taking the place of God, he [Pg 282]searched obstinately for the answer—and nearly always found it. It would not have been like him to murmur, in an outburst of pious humility: “O Lord, thy designs are impenetrable!” Rather might he say to himself: “I am the servant of God; I ought to know the reasons for what He does, or, if I know them not, I ought to divine them.”
2. As he walked briskly along the garden path of his small country residence, he would often find himself pondering a question: “Why did God create that?” And, imagining himself in God’s position, he persistently sought the answer—and almost always discovered it. It wouldn’t have suited him to complain, in a moment of pious humility: “O Lord, your plans are beyond understanding!” Instead, he might think to himself: “I am God’s servant; I should understand the reasons for what He does, or if I don’t, I should figure them out.” [Pg 282]
3. To him all nature seemed created with a logic as absolute as it was admirable. The “wherefore” and the “because” always corresponded perfectly. Dawn was made to gladden our waking, the day to ripen the crops, the rain to water them, the evening to prepare for slumber, and the night was darkened for sleep.
3. To him, all of nature seemed to be made with a logic that was both absolute and admirable. The “why” and the “because” always matched perfectly. Dawn was meant to bring us joy as we woke up, the day to help the crops grow, the rain to nourish them, the evening to get us ready for sleep, and the night was darkened for rest.
4. The four seasons met perfectly all the needs of agriculture; and to the priest it was quite inconceivable that nature had no designs, and that, on the contrary, all living things were subjects of the same inexorable laws of period, climate, and matter.
4. The four seasons perfectly met all the needs of farming; and to the priest, it was completely unimaginable that nature had no purpose, and that, on the contrary, all living things were governed by the same unchangeable laws of cycles, climate, and matter.
5. But he did hate woman! He hated her unconscionably, and by instinct held her in contempt. Often did he repeat the words of Christ, “Woman, what have I to do with thee?” And he would add, “One might think that God Himself did not feel quite content with this one work of his hands!” To him, indeed, woman was the child twelve times unclean of whom the poet speaks. She was the temptress who had ensnared the first man, and who[Pg 283] constantly kept up her work of damnation—she was a feeble, dangerous, and mysteriously troublous creature. And even more than her accursed body did he hate her loving spirit.
5. But he really hated women! He hated her unreasonably and instinctively looked down on her. He often repeated the words of Christ, “Woman, what do I have to do with you?” And he would add, “One might think that even God wasn’t quite satisfied with this one creation of His!” To him, woman was the child twelve times unclean that the poet mentions. She was the temptress who had entrapped the first man and who[Pg 283] kept up her work of damnation—she was a weak, dangerous, and mysteriously troubling figure. And even more than her cursed body, he hated her loving spirit.
6. He had often felt that women were regarding him tenderly, and even though he knew himself to be invulnerable, it exasperated him to recognize that need for loving which fluttered ever-present in their hearts.
6. He often felt that women were looking at him with affection, and even though he knew he was untouchable, it frustrated him to acknowledge the longing for love that was always there in their hearts.
7. In his opinion, God had created woman only to tempt man and to test him. She should never be even approached without those defensive measures which one would take, and those fears which one would harbor, when nearing a trap. In fact, she was precisely like a trap, with her lips open and arms extended towards man.
7. In his view, God made woman solely to tempt man and test him. She shouldn't ever be approached without the precautions one would take, and the fears one would feel, when getting close to a trap. In reality, she was just like a trap, with her lips open and arms reaching out to man.
8. Only toward nuns did he exercise any indulgence, for they were rendered harmless by their vow. But he treated them harshly just the same, because, ever-living in the depths of their pent-up and humble hearts, he discerned that everlasting tenderness which constantly surged up toward him, priest though he was.
8. He only showed any leniency toward nuns because their vow made them harmless. However, he still treated them harshly because he sensed the deep and humble tenderness in their hearts that always reached out to him, even though he was a priest.
9. Of all this he was conscious in their upturned glances, more limpid with pious feeling than the looks of monks; in the spiritual exaltations in which their sex indulged; in their ecstasies of love toward Christ, which made the priest indignant because it was really woman’s love, carnal love. Of this detestable tenderness[Pg 284] he was conscious, too, in their very docility, in the gentleness of their voices when they addressed him, in their downcast eyes, and in their submissive tears when he rudely rebuked them.
9. He noticed all of this in their upturned glances, more pure with pious feeling than the gazes of monks; in the spiritual highs they experienced; in their ecstatic love for Christ, which made the priest angry because it was really a woman's love, physical love. He was also aware of this annoying tenderness in their very obedience, in the softness of their voices when they spoke to him, in their lowered eyes, and in their submissive tears when he harshly scolded them.[Pg 284]
10. So he would shake his cassock when he left the convent door, and stride off, stretching his legs as if fleeing before some danger.
10. So he would shake his robe when he left the convent door and stride off, stretching his legs as if escaping from some danger.
11. Now the abbé had a niece who lived with her mother in a little house near by. He was determined to make of her a sister of charity.
11. The abbé had a niece who lived with her mom in a small house nearby. He was set on making her a sister of charity.
12. She was pretty, giddy, and a born tease. When he preached at her, she laughed; and when he became angry with her, she kissed him vehemently, pressing him to her bosom, while he would instinctively seek to disengage himself from this embrace—which, all the same, gave him a thrill of exquisite joy, awaking deep within his soul that feeling of fatherhood which slumbers in every man.
12. She was attractive, playful, and a natural flirt. Whenever he lectured her, she just laughed; and when he got mad at her, she kissed him passionately, pulling him close, even though he would instinctively try to pull away from the hug—yet, it still filled him with a thrilling joy, awakening that sense of fatherhood that lies dormant in every man.
13. Often as they walked together along the foot-paths through the fields, he would talk with her of God, of his God; but she scarcely heard him, for she was looking at the sky, the grass, the flowers, with a joy of life which beamed from her eyes. Sometimes she would dart away to catch some flying creature, crying as she brought it back: “See, my uncle, how pretty it is; I should like to kiss it.” And that passion to kiss insects, or lilac flowers, disturbed, irritated, and repelled the[Pg 285] priest, who recognized even in that longing the ineradicable love which blooms perennial in the heart of woman.
13. Often as they walked together along the paths through the fields, he would talk with her about God, his God; but she hardly heard him because she was gazing at the sky, the grass, the flowers, with a joy for life that shone in her eyes. Sometimes she would dash off to catch some flying creature, exclaiming as she brought it back, “Look, my uncle, how beautiful it is; I want to kiss it.” And that desire to kiss insects or lilac flowers troubled, irritated, and repelled the priest, who recognized even in that longing the deep-seated love that always blooms in a woman’s heart.
14. And now one day the sacristan’s wife, who was the Abbé Marignan’s housekeeper, cautiously told him that his niece had a lover!
14. And now one day the sacristan’s wife, who was the Abbé Marignan’s housekeeper, carefully told him that his niece had a boyfriend!
15. He was dreadfully shocked, and stood gasping for breath, lather all over his face, for he was shaving.
15. He was completely shocked and stood there gasping for breath, foam all over his face, because he was shaving.
16. When at length he was able to think and speak, he cried: “It is not true. You are lying, Mélanie!”
16. When he could finally think and speak, he shouted, “That’s not true. You’re lying, Mélanie!”
17. But the peasant woman laid her hand over her heart: “May our Lord judge me if I am lying, monsieur le curé. I tell you she goes out to meet him every night as soon as your sister is in bed. They meet each other down by the river. You need only go there between ten o’clock and midnight to see for yourself.”
17. But the peasant woman placed her hand over her heart: “I swear to you, monsieur le curé, I’m not lying. She goes out to meet him every night right after your sister goes to bed. They meet down by the river. You just have to go there between ten and midnight to see for yourself.”
18. He stopped rubbing his chin and began pacing the room violently, as was his custom in times of serious thought. When at length he did try to finish his shaving he cut himself three times, from nose to ear.
18. He stopped rubbing his chin and started pacing the room angrily, which was his usual habit during deep thought. When he finally tried to finish shaving, he cut himself three times, from his nose to his ear.
19. All day long he was silent, though almost exploding with indignation and wrath. To his priestly rage against the power of love was now added the indignation of a spiritual father, of a teacher, of the guardian of souls, who has been deceived, robbed, and trifled with by a mere child. He felt that egotistical suffocation which parents experience[Pg 286] when their daughter tells them that she has selected a husband without their advice and in defiance of their wishes.
19. All day long he stayed silent, though he was on the verge of bursting with anger and resentment. In addition to his priestly fury towards the power of love, he now felt the outrage of a spiritual father, a teacher, and a guardian of souls who had been misled, robbed, and played by a mere child. He experienced that suffocating frustration that parents feel when their daughter tells them she has chosen a husband without their input and in direct opposition to their wishes.[Pg 286]
20. After dinner he tried to read a little, but he could not—he grew more and more exasperated. When the clock struck ten, he grasped his cane, a formidable oaken club which he always carried when he went out at night to visit the sick. With a smile he examined this huge cudgel, gripped it in his solid, countryman’s fist, and flourished it menacingly in the air. Then, suddenly, with grinding teeth, he brought it down upon a chair-back, which fell splintered to the floor.
20. After dinner, he tried to read a bit, but he just couldn't—he became more and more frustrated. When the clock struck ten, he grabbed his cane, a hefty oak club that he always took with him when he went out at night to see the sick. With a smile, he looked at this massive stick, tightened his strong, countryman’s grip around it, and waved it threateningly in the air. Then, suddenly, gritting his teeth, he slammed it down onto a chair-back, which shattered and fell to the floor.
21. He opened his door to go out; but paused upon the threshold, surprised by such a glory of moonlight as one rarely sees.
21. He opened his door to go outside; but stopped at the threshold, taken aback by a brilliance of moonlight that’s rarely seen.
22. And as he was endowed with an exalted soul of such a sort as the Fathers of the Church, those poetic seers, must have possessed, he became suddenly entranced, moved by the grand and tranquil beauty of the pale-faced night.
22. And since he had a lofty spirit like that of the Church Fathers, those poetic visionaries, he became suddenly captivated, influenced by the magnificent and serene beauty of the pale-faced night.
23. In his little garden, all suffused with the tender radiance, his fruit-trees, set in rows, outlined in shadows upon the paths their slender limbs of wood, scarce clothed with verdure. The giant honeysuckle, clinging to the house wall, exhaled its delicious, honeyed breath—the soul of perfume seemed to hover about in the warm, clear night.
23. In his small garden, filled with gentle light, his fruit trees, lined up in rows, cast shadows on the paths with their thin wooden branches, barely dressed in green. The giant honeysuckle, clinging to the house wall, released its sweet, honey-like scent—the essence of perfume seemed to linger in the warm, clear night.
[Pg 287]
[Pg 287]
24. He began to breathe deep, drinking in the air as drunkards drink their wine; and he walked slowly, ravished, amazed, his niece almost forgotten.
24. He started to breathe deeply, taking in the air like drunk people take their wine; and he walked slowly, spellbound, amazed, almost forgetting his niece.
25. When he reached the open country he paused to gaze upon the broad sweep of landscape, all deluged by that caressing radiance, all drowned in that soft and sensuous charm of peaceful night. Momently the frogs sounded out their quick metallic notes, and distant nightingales added to the seductive moonlight their welling music, which charms to dreams without thought—that gossamer, vibrant melody born only to mate with kisses.
25. When he got to the open countryside, he stopped to take in the wide expanse of the landscape, all bathed in that gentle light, all enveloped in the soft and inviting allure of a peaceful night. The frogs occasionally croaked their quick metallic notes, and distant nightingales contributed to the enchanting moonlight with their flowing music, which lulls you into dreams without a care—that delicate, vibrant melody created just for mingling with kisses.
26. The Abbé moved again, his courage unaccountably failing. He felt as though he were enfeebled, suddenly exhausted—he longed to sit down, to linger there, to glorify God for all His works.
26. The Abbé moved again, his courage unexpectedly wavering. He felt weakened, suddenly tired—he yearned to sit down, to stay there a while, to praise God for all His creations.
27. A little farther on, following the winding of the little river, curved a row of tall poplars. Suspended about and above the banks, enwrapping the whole sinuous course of the stream with a sort of light, transparent down, was a fine white mist, shot through by the moon-rays, and transmuted by them into gleaming silver.
27. A little further along, following the twists of the small river, there was a row of tall poplars. Hanging around and above the banks, wrapping the entire winding path of the stream in a kind of light, sheer mist, was a fine white fog, illuminated by the moonlight and transformed into shimmering silver.
28. The priest paused once again, stirred to the deeps of his soul by a growing, an irresistible feeling of tenderness.
28. The priest paused again, moved to the depths of his soul by a deep, undeniable feeling of tenderness.
29. And a doubt, an undefined disquietude,[Pg 288] crept over him; he discerned the birth of one of those questions which now and again came to him.
29. And a doubt, a vague unease,[Pg 288] washed over him; he recognized the start of one of those questions that occasionally came to him.
30. Why had God made all this? Since the night was ordained for slumber, for unconsciousness, for repose, for forgetfulness of everything, why should He make it lovelier than the day, sweeter than dawn and sunset? And that star, slow-moving, seductive, more poetic than the sun, so like to destiny, and so delicate that seemingly it was created to irradiate things too subtle, too refined, for the greater orb—why was it come to illumine all the shades?
30. Why did God create all of this? Since the night was meant for sleep, for forgetting, for resting, for letting go of everything, why make it more beautiful than the day, sweeter than dawn and sunset? And that star, moving slowly, enticing, more poetic than the sun, so similar to destiny, and so delicate that it seemed made to shine light on things too subtle, too refined, for the larger sphere—why did it come to light up all the shadows?
31. Why did not the most accomplished of all singing birds repose now like the others, but sing in the unquiet dark?
31. Why didn't the most skilled of all singing birds rest now like the others, but instead sing in the restless dark?
32. Why was this semi-veil cast over the world? Why this sighing of the heart, this tumult of the soul, this languor of the flesh?
32. Why is this semi-veil draped over the world? Why this sighing of the heart, this turmoil of the soul, this weariness of the body?
33. Why this show of charms, never seen by men because they are asleep? For whose eyes was all this sublime spectacle designed, all this wealth of poetic loveliness diffused from heaven over the earth?
33. Why this display of beauty, never witnessed by people because they are asleep? For whose eyes was this amazing spectacle created, all this abundance of poetic beauty spread from heaven over the earth?
34. And the Abbé did not understand it at all.
34. And the Abbot didn’t get it at all.
35. But there below, at the very edge of the field, under the arching trees wet with luminous mist, two shadows appeared, walking side by side.
35. But down there, at the very edge of the field, beneath the arching trees soaked in glowing mist, two figures emerged, walking side by side.
36. The man was the taller, and[Pg 289] had his arm about his sweetheart’s neck; and from time to time he bent to kiss her forehead. They animated suddenly the lifeless landscape, which enveloped their figures like a divine frame fashioned expressly for them. They seemed, those two, like a single being, the being for whom was created this tranquil, silent night. Like a living answer, the answer which his Master had sent to his question, they moved toward the priest.
36. The man was taller and[Pg 289] had his arm around his girlfriend’s neck; from time to time, he leaned down to kiss her forehead. They suddenly brought the lifeless landscape to life, surrounding their figures like a divine frame made just for them. The two of them looked like one single being, the being for whom this peaceful, quiet night was created. Like a living response, the answer his Master had sent to his question, they walked toward the priest.
37. Overwhelmed, his heart throbbing, he stood still, and it seemed as though there spread before him some Biblical scene, like the loves of Ruth and Boaz, the working out of the Lord’s will in one of those majestic dramas set forth in the lives of the saints. The verses of the Song of Songs, the ardent cries, the call of the body—all the glowing romance of that poem so aflame with tenderness and love, began to sing itself into his mind.
37. Overwhelmed, his heart racing, he stood frozen, and it felt like a Biblical scene unfolded before him, similar to the love story of Ruth and Boaz, revealing the Lord’s will in one of those grand narratives found in the lives of the saints. The verses of the Song of Songs, the passionate appeals, the call of the body—all the vibrant romance of that poem, full of warmth and love, started to resonate in his mind.
38. And he said to himself: “Perhaps God made nights such as this in order to cast the veil of the ideal over the loves of men.”
38. And he thought to himself: “Maybe God created nights like this to cover the loves of people with a touch of the ideal.”
39. He withdrew before this pair, who went on arm in arm. True, it was his niece; but now he asked himself if he had not been upon the verge of disobeying God. And, indeed, if God did not permit love, why did he visibly encompass it with glory such as this?
39. He stepped back from the couple, who continued on, linked together. True, she was his niece; but he questioned whether he had been close to defying God. And really, if God disallowed love, then why did He surround it with such evident beauty?
40. And he fled, bewildered, almost ashamed, as if he had penetrated in a temple wherein he had no right to enter.
40. And he ran away, confused and almost embarrassed, as if he had entered a temple where he didn't belong.
[Pg 290]
[Pg 290]
SUGGESTIVE QUESTIONS FOR STUDY
1. Precisely why do our surroundings affect our moods and actions? Give examples from your own experience.
1. Why do our surroundings influence our moods and actions? Share examples from your own experience.
2. Which seems to you to be the more frequent in fiction: harmony, or contrast of character with setting?
2. Which do you think is more common in fiction: harmony or a contrast between character and setting?
3. Which seems to you to be the more effective? Why?
3. Which one do you think is more effective? Why?
4. Outline the motives which actuated at least three of the characters in “The Outcasts of Poker Flat.”
4. Describe the motivations that drove at least three of the characters in “The Outcasts of Poker Flat.”
5. Is the story overdrawn?
Is the story overdone?
6. Is the influence of the moonlight enough to account for the change in the priest in “Moonlight,” or must we allow something for romance?
6. Is the influence of the moonlight strong enough to explain the change in the priest in “Moonlight,” or should we consider that romance plays a role?
7. Trace the several physical crises of Harte’s story from the very beginning.
7. Follow the various physical challenges in Harte's story from the very start.
8. Do the same for the moral crises.
8. Handle the moral crises in the same way.
9. Show their inter-relation.
9. Show their connection.
10. Select from a magazine a story in which setting influences in some way the actions of the characters, and point out precisely how.
10. Choose a story from a magazine where the setting affects the characters' actions in some way, and clearly explain how it does.
TEN REPRESENTATIVE STORIES OF SETTING
“A Leaf in the Storm,” Ouida, in Stories by English Authors.
“A Leaf in the Storm,” Ouida, in Stories by English Authors.
“Mrs. Knollys,” F. J. Stimson, Century Magazine, Nov., 1883.
“Mrs. Knollys,” F. J. Stimson, Century Magazine, Nov., 1883.
“Up the Coulée,” Hamlin Garland, in Main Travelled Roads.
“Up the Coulée,” Hamlin Garland, in Main Travelled Roads.
“The Girl at Duke’s,” James W. Linn, McClure’s Magazine, Aug., 1903.
“The Girl at Duke’s,” James W. Linn, McClure’s Magazine, Aug., 1903.
“The Dancin’ Party at Harrison’s Cove,” Charles Egbert Craddock, Atlantic Monthly, May, 1878.
“The Dancin’ Party at Harrison’s Cove,” Charles Egbert Craddock, Atlantic Monthly, May, 1878.
“Twenty-Six and One,” Maxim Gorky, translated in volume of same title.
“Twenty-Six and One,” Maxim Gorky, translated in a volume of the same title.
“The Unknown Masterpiece,” Honoré de Balzac, translated in Little French Masterpieces, Balzac.
“The Unknown Masterpiece,” Honoré de Balzac, translated in Little French Masterpieces, Balzac.
“Red Bird,” Elizabeth Maury Coombs, Lippincott’s Magazine, Dec., 1911.
“Red Bird,” Elizabeth Maury Coombs, Lippincott’s Magazine, Dec. 1911.
“The Wall Opposite,” Pierre Loti, translated in Short Story Classics, Foreign.
“The Wall Opposite,” Pierre Loti, translated in Short Story Classics, Foreign.
“The End of the Tether,” Joseph Conrad, in Youth.
“The End of the Tether,” Joseph Conrad, in Youth.
FOOTNOTES:
FOOTNOTES:
[25] Writing the Short-Story, pp. 151-152.
__A_TAG_PLACEHOLDER_0__ Writing the Short Story, pp. 151-152.
[Pg 291]
[Pg 291]
VI
IMPRESSIONISTIC STORIES
The White Old Maid.—Nathaniel Hawthorne
The White Old Maid.—Nathaniel Hawthorne
The Fall of the House of Usher.—Edgar Allan Poe
The Fall of the House of Usher.—Edgar Allan Poe
[Pg 294]
[Pg 294]
I prefer commencing with the consideration of an effect. Keeping originality always in view—for he is false to himself who ventures to dispense with so obvious and so easily attainable a source of interest—I say to myself, in the first place, “Of the innumerable effects or impressions of which the heart, the intellect, or (more generally) the soul is susceptible, what one shall I, on the present occasion, select?” Having chosen a [Pg 293] novel first, and secondly, a vivid effect, I consider whether it can be best wrought by incident or tone, or the converse, or by peculiarity both of incident and tone—afterwards looking about me (or rather within) for such combinations of event or tone as shall best aid me in the construction of the effect.—Edgar Allan Poe, The Philosophy of Composition.
I prefer to start by considering an effect. Always keeping originality in mind—since anyone who ignores such an obvious and easily attainable source of interest is not being true to themselves—I ask myself first, “Of the countless effects or impressions that the heart, mind, or (more generally) the soul can experience, which one should I choose for this occasion?” After selecting a unique effect, I think about whether it can be best created through incident or tone, or a combination of both incident and tone—then I look around (or rather within) for the right combinations of events or tones that will help me create that effect.—Edgar Allan Poe, The Philosophy of Composition.
[Pg 295]
[Pg 295]
IMPRESSIONISTIC STORIES
The value of a literary term lies in the comprehensive and precise picture which it calls up in the mind of him who reads it. So we must seek to limit, as well as seize upon, the meaning of this word “impressionistic.”
The value of a literary term is in the clear and precise image it creates in the mind of the reader. Therefore, we must aim to clarify, as well as capture, the meaning of the word “impressionistic.”
The first purpose in telling a story would seem to be the pleasure or the profit of the hearer—if we exclude the bore who tells a yarn chiefly to please himself. But a closer scrutiny of certain stories discloses other objects of the narrator, and these may be either subordinate or paramount to considerations of benefit or entertainment. The most important of these artistic purposes is to reproduce in the hearer the full effect which a certain mood, theme, character, situation, incident, or chain of incidents, originally made upon the story-teller himself. When he succeeds in reproducing in others his own feeling, by such means as we shall presently study, he does so by impressionistic means.
The main reason for telling a story seems to be to entertain or benefit the audience—unless you're dealing with someone who tells a tale just to amuse themselves. However, a deeper look at certain stories reveals that the storyteller may have other objectives, which can be either secondary or primary compared to the audience's enjoyment or gain. The most significant of these artistic goals is to evoke in the audience the same impact that a particular mood, theme, character, situation, event, or sequence of events had on the storyteller. When they manage to recreate their own feelings in others through the techniques we will explore shortly, they do so using impressionistic methods.
Poe, writing in Graham’s Magazine, May, 1842, says: “A skilful literary artist has constructed a tale. If wise, he has not fashioned his thoughts to accommodate his incidents; but having conceived, with deliberate care, a certain unique or single effect to be wrought out, he then invents such incidents—he then combines such events—as may best aid him in establishing the preconceived effect.[Pg 296] If his very initial sentence tend not to the outbringing of this effect, then he has failed in his first step. In the whole composition there should be no word written, of which the tendency, direct or indirect, is not to the one preëstablished design.”
Poe, writing in Graham’s Magazine, May, 1842, says: “A skilled literary artist has crafted a story. If he is wise, he doesn't shape his ideas to fit his events; instead, after carefully conceiving a specific unique effect he wants to create, he invents incidents—he combines events—that will best help him achieve that intended effect.[Pg 296] If his very first sentence doesn’t contribute to producing this effect, he has failed at the outset. Throughout the entire piece, there should be no word written that doesn’t directly or indirectly support the one established goal.”
It does not seem probable that Poe meant to speak of impressionism as constituting so much a distinct type of story as to point out its importance as a method in all story-telling; and we must not overlook its usefulness in this respect. Indeed, nearly all good short-stories begin, in the mind of the author, and end, in the spirit of the reader, with a more or less clear and unified impression. Still, certain little fictions are, alike in theme and treatment, so decidedly conceived and told with the purpose of leaving the reader under the spell of a mood, a feeling, a character, or a situation, that they are IMPRESSIONISTIC stories, rather than impressionistic STORIES.
It doesn’t seem likely that Poe intended to describe impressionism as a completely distinct type of story, but rather to highlight its significance as a technique in all storytelling; and we shouldn’t ignore its value in this regard. In fact, almost all good short stories start in the author’s mind and finish in the reader’s spirit, creating a more or less clear and cohesive impression. However, some brief narratives are, in both theme and approach, deliberately crafted and presented with the aim of leaving the reader in the grip of a mood, a feeling, a character, or a situation, making them IMPRESSIONIST stories, rather than impressionistic STORIES.
The natural tendency for the impressionistic writer is to subordinate incident and plot to tone—in a word, to emphasize a picture, whether internal or external, rather than a set of happenings, which in dealing with fiction we call the action. So an impressionistic narrative may really tell a story of situation, crisis, and denouement, or, as is more likely to be the case, it may tend decidedly toward the sketch. All depends upon the nature of the theme. Thus, the beauty of sacrifice demands an action to illustrate that abnegation, and all the accessories must serve as high-lights and shadows to bring out this motive in strong relief; but the tone of gloom may be conveyed without even the semblance of a plot.
The natural instinct of an impressionistic writer is to prioritize tone over plot and incidents—in other words, to focus on a picture, whether it's internal or external, rather than a series of events, which we refer to as the action in fiction. Thus, an impressionistic narrative might actually convey a story of situation, crisis, and resolution, or, more commonly, it might lean towards being more of a sketch. It all depends on the theme. For example, the beauty of sacrifice requires an action to showcase that selflessness, with all the details acting as highlights and shadows to emphasize this motive; however, the tone of gloom can be expressed without even having a semblance of a plot.
Now a story may produce a gloomy effect without deliberately picturing an atmosphere of gloom—it may leave the reader with a vague, pessimistic distaste for joy, and yet present no such picture. Or it may marvellously delineate loneliness, without leaving that as the final impression of the story. This is not impressionism, though it may be very good story-telling. Impressionism is conscious art, art prepense, and, as will be seen in the two stories presented as examples in this section, subordinates everything to tonal effect; in other words, the impressionistic story symbolizes in human action some human mood or condition. For this reason such stories are often called stories of symbolism.
A story can create a dark mood without intentionally portraying a gloomy setting—it might leave the reader with a general, negative feeling towards happiness, yet show no such image. Alternatively, it could beautifully express feelings of isolation without making that the main takeaway of the story. This isn’t impressionism, even if it’s excellent storytelling. Impressionism is deliberate art, carefully crafted, and, as demonstrated in the two stories presented as examples in this section, prioritizes tonal effect above all; in other words, an impressionistic story illustrates some human emotion or state through human actions. Because of this, these types of stories are often referred to as stories of symbolism.
[Pg 297]
[Pg 297]
HAWTHORNE AND HIS WRITINGS
Nathaniel Hawthorne was born in Salem, Massachusetts, July 4, 1804. His New England ancestors bore the name Hathorne, as did the author’s sea-captain father—also a Nathaniel—who died at Surinam, Dutch Guiana, when his son was four years old. In 1818 the family moved to Raymond, Maine, but most of the youth’s education was gotten at Salem, and there his family returned in 1820. The following year he entered Bowdoin College, from which he was graduated in 1825. At this time—when he was twenty-one—he had already begun Twice-Told Tales; it was then, too, that he inserted the w into his name. He was now writing industriously, often under a pseudonym; he also did considerable hack and editorial work. During 1839 and a part of 1840 he[Pg 298] served in the Boston Custom House; then he joined the Brook Farm Community in 1841, but remained there only a short time. He married Sophia Peabody in 1842. In 1846 he returned to the Customs service, in Salem, remaining this time about three years. In 1853 he was appointed by his classmate, President Pierce, as United States Consul at Liverpool. During the more than three years of his consulship he traveled widely in Great Britain, and later spent much time in Italy, where some of his best work was accomplished. During the last years of his life he wrote but intermittently, being a prey to depression and ill health. He died at Plymouth, New Hampshire, May 19, 1864, and is buried in the Sleepy Hollow Cemetery, Concord, Mass.
Nathaniel Hawthorne was born in Salem, Massachusetts, on July 4, 1804. His New England ancestors had the last name Hathorne, as did his father, who was also named Nathaniel and served as a sea captain. His father passed away in Surinam, Dutch Guiana, when Nathaniel was just four years old. In 1818, the family moved to Raymond, Maine, but most of Nathaniel's education took place in Salem, where the family returned in 1820. The following year, he started attending Bowdoin College and graduated in 1825. By then, at just twenty-one, he had already begun working on Twice-Told Tales; it was also at this time that he added the w to his name. He was writing prolificly, often using a pseudonym, and also did a lot of hack writing and editorial work. From 1839 to part of 1840, he worked in the Boston Custom House; in 1841, he joined the Brook Farm Community, but his stay there was brief. He married Sophia Peabody in 1842. In 1846, he returned to the Customs service in Salem and stayed for about three years. In 1853, he was appointed as United States Consul in Liverpool by his classmate, President Pierce. During his over three years as consul, he traveled extensively throughout Great Britain and later spent a significant amount of time in Italy, where he produced some of his best work. In the final years of his life, he wrote only sporadically, struggling with depression and health issues. He died in Plymouth, New Hampshire, on May 19, 1864, and was buried in Sleepy Hollow Cemetery in Concord, Massachusetts.
Nathaniel Hawthorne was a remarkable novelist, essayist, and short-story writer. The Scarlet Letter and The Marble Faun, are his greatest novels. The House of the Seven Gables is a series of related sketches rather than a romance. Probably his best short-stories are “The Birthmark,” “Rappaccini’s Daughter,” and “Drowne’s Wooden Image,” in Mosses From An Old Manse; “The Gray Champion,” “The Minister’s Black Veil,” “The Gentle Boy,” “The Great Carbuncle,” “Dr. Heidegger’s Experiment,” “The Ambitious Guest,” “Wakefield,” and “The White Old Maid,” from Twice-Told Tales; and “The Great Stone Face,” “Ethan Brand” and “The Snow-Image,” in The Snow-Image and other Twice-Told Tales. These three collections contain also many charming sketches, while The Wonder[Pg 299] Book, and Tanglewood Tales are rich in interest for younger readers.
Nathaniel Hawthorne was an exceptional novelist, essayist, and short story writer. The Scarlet Letter and The Marble Faun are his best novels. The House of the Seven Gables is more a collection of related sketches than a romance. Some of his best short stories include “The Birthmark,” “Rappaccini’s Daughter,” and “Drowne’s Wooden Image” from Mosses From An Old Manse; “The Gray Champion,” “The Minister’s Black Veil,” “The Gentle Boy,” “The Great Carbuncle,” “Dr. Heidegger’s Experiment,” “The Ambitious Guest,” “Wakefield,” and “The White Old Maid” from Twice-Told Tales; and “The Great Stone Face,” “Ethan Brand,” and “The Snow-Image” from The Snow-Image and other Twice-Told Tales. These three collections also include many delightful sketches, while The Wonder Book and Tanglewood Tales are full of engaging stories for younger readers.
“The White Old Maid,” given herewith in full, was first published in the New England Magazine for July, 1835, and was entitled “The Old Maid in the Winding Sheet, by the Author of The Gray Champion.”
“The White Old Maid,” presented here in its entirety, was first published in the New England Magazine for July, 1835, and was titled “The Old Maid in the Winding Sheet, by the Author of The Gray Champion.”
Hawthorne enjoyed the distinction of winning in his day the almost unanimous approval of critics both at home and abroad, and this in a period when criticism was not a gentle art. Time, moreover, has only added to his praises. As a fiction writer he had depth, breadth, and height. Hawthorne alone among the fictionists of his era may justly be said to have a philosophy of his own; his themes cover a wide range; and the loftiness of his ideals is well recognized. As Longfellow discerned, and generously announced as early as 1837, Hawthorne was a poet who wrote prose. He knew a mood in nature to match every human emotion, and in her multiform life he saw images to enforce a thousand striking comparisons. He was a student of the soul, too, albeit a gloomy one, for the most part. But while the sombreness of lives beset by stern problems oppressed him, and but little humor brightens his pages, one searches in vain for a pessimistic spirit—Hawthorne’s knowledge of the human heart saddened him, but it did not make him misanthropic. One feels the reality, the vital bearing, of the things he writes about. It is impossible to read him appreciatively and not realize the sincerity of the man,[Pg 300] and the fine earnestness, the upright though severe justness, with which he viewed life. Sweetness, beauty—haunting beauty, indeed—and a certain airy lightness, were not wanting in his work; but the big tones—resonant, solemn at times, and inspiring always—were poetic insight, fervid intensity, and lofty purpose. Hawthorne was a seer. The inside of things was disclosed to him. That which he could not see, he felt. And with a classic purity of style he worded the fantastic, gloomy, lightsome, or tragic pageantry of his creations in sentences that live and live.
Hawthorne enjoyed the rare honor of receiving almost unanimous praise from critics at home and abroad during a time when criticism was quite harsh. Moreover, time has only increased his accolades. As a fiction writer, he showed depth, breadth, and height. Hawthorne stands out among the writers of his time as someone who had a distinct philosophy; his themes spanned a broad spectrum, and the nobility of his ideals is well acknowledged. As Longfellow noticed and generously declared as early as 1837, Hawthorne was a poet who wrote in prose. He understood how every human emotion could be matched by a mood in nature, and he found countless striking comparisons in her diverse life. He was a student of the soul, though often a gloomy one. While the darkness of lives burdened by serious issues weighed on him, and there is little humor in his writing, one cannot find a pessimistic outlook—Hawthorne’s understanding of the human heart brought him sadness, but it didn’t make him misanthropic. His writing feels real and impactful. It's impossible to read his work appreciatively without sensing the sincerity of the man and the serious yet fair way he viewed life. His work isn't lacking in sweetness and beauty—indeed, haunting beauty—and a certain lightness, but the strong tones—resonant, sometimes solemn, and always inspiring—showcase poetic insight, passionate intensity, and noble purpose. Hawthorne was a visionary. He revealed the essence of things. What he couldn't see, he could feel. With a classic clarity of style, he expressed the fantastical, gloomy, joyful, or tragic aspects of his creations in sentences that endure.
I wish God had given me the faculty of writing a sunshiny book.—Nathaniel Hawthorne, Letter to James T. Fields.
I wish God had given me the ability to write a cheerful book.—Nathaniel Hawthorne, Letter to James T. Fields.
Soon to be all spirit, I have already a spiritual sense of human nature, and see deeply into the hearts of mankind, discovering what is hidden from the wisest.... My glance comprehends the crowd, and penetrates the breast of the solitary man.—Nathaniel Hawthorne, My Home Return, in Tales and Sketches.
Soon to be all spirit, I already have a spiritual understanding of human nature, and I see deeply into the hearts of people, uncovering what is hidden from the wisest. My gaze takes in the crowd and dives into the soul of the solitary individual.—Nathaniel Hawthorne, My Home Return, in Tales and Sketches.
He uses his characters, like algebraic symbols, to work out certain problems with; they are rather more, yet rather less, than flesh and blood.—H. A. Beers, quoted in Tappan’s Topical Notes on American Authors.
He uses his characters like algebraic symbols to solve certain problems; they are both more and less than real people.—H.A. Beers, quoted in Tappan’s Topical Notes on American Authors.
Hawthorne’s style, at its best, is one of the most perfect media employed by any writer using the English language. Dealing, as it usually does, with an immaterial subject-matter, with dream-like impressions, and fantastic products of the imagination, it is concrete without being opaque,—luminously concrete, one might say. No other writer that I know of has the power of making his fancies visible and tangible without impairing their delicate immateriality. If any writer can put the rainbow into words, and yet leave it a rainbow, surely that writer is Hawthorne.—Richard Le Gallienne, Attitudes and Avowals.
Hawthorne’s style, at its best, is one of the most perfect mediums used by any writer in the English language. It often explores intangible subjects, dream-like impressions, and the fantastic products of the imagination, being clear without losing its essence—luminously clear, one might say. No other writer I know has the ability to make their fantasies visible and tangible without losing their delicate intangibility. If there’s any writer who can convey a rainbow in words yet still let it remain a rainbow, it must be Hawthorne.—Richard Le Gallienne, Attitudes and Avowals.
[Pg 301]
[Pg 301]
In all his most daring fantasies Hawthorne is natural; and though he may project his vision far beyond the boundaries of fact, nowhere does he violate the laws of nature.... A brutal misuse of the supernatural is perhaps the very lowest degradation of the art of fiction. But “to mingle the marvellous rather as a slight, delicate, and evanescent flavour than as any actual portion of the substance,” to quote from the preface to the House of the Seven Gables, this is, or should be, the aim of the writer of Short-stories whenever his feet leave the firm ground of fact as he strays in the unsubstantial realms of fantasy.—Brander Matthews, The Philosophy of the Short-story.
In all his most daring fantasies, Hawthorne feels natural; and even though he may project his vision far beyond the limits of reality, he never breaks the laws of nature.... A cruel misuse of the supernatural is perhaps the lowest form of degradation in the art of fiction. But “to mix the marvelous more as a subtle, delicate, and fleeting flavor than as any actual part of the content,” to quote from the preface to the House of the Seven Gables, should be the goal of short story writers whenever they step away from the solid ground of fact and wander into the intangible realms of fantasy.—Brander Matthews, The Philosophy of the Short-story.
Hawthorne has been called a mystic, which he was not,—and a psychological dreamer, which he was in very slight degree. He was really the ghost of New England. I do not mean the “spirit,” nor the “phantom,” but the ghost in the older sense in which that term is used, the thin, rarefied essence which is to be found somewhere behind the physical organization: embodied, indeed, and not by any means in a shadowy or diminutive earthly tabernacle, but yet only half embodied in it, endowed with a certain painful sense of the gulf between his nature and its organization, always recognizing the gulf, always trying to bridge it over, and always more or less unsuccessful in the attempt. His writings are not exactly spiritual writings, for there is no dominating spirit in them. They are ghostly writings.... I may, perhaps, accept a phrase of which Hawthorne himself was fond,—“the moonlight of romance,”—and compel it to explain something of the secret of his characteristic genius.—R. H. Hutton, Essays in Literary Criticism.
Hawthorne has often been labeled a mystic, which he was not— and a psychological dreamer, which he was only to a small extent. He was really the essence of New England. I don’t mean the “spirit” or the “phantom,” but the ghost in the older sense of the word, the thin, rarefied essence that can be found behind the physical form: embodied, yes, but not in a shadowy or small earthly body, yet still only partially embodied in it, filled with a painful awareness of the gap between his true self and its organization, always acknowledging that gap, always trying to bridge it, and always somewhat failing in that effort. His writings aren't exactly spiritual, as they lack a dominating spirit. They are ghostly writings… I might accept a phrase that Hawthorne himself liked—“the moonlight of romance”—to help explain some of the mystery of his distinctive genius.—R. H. Hutton, Essays in Literary Criticism.
This, too [“The White Old Maid”], is a story, in the sense that something happens; and yet the real story, by which I mean the narrative which would logically connect and develop these events, is just hinted at, and is not very important. It is subordinated, indeed, to a new aim. “The White Old Maid” is narrative for a purpose, and this purpose is to suggest an impression, and to leave us with a vivid sensation rather than a number of remembered facts. In short, it is contrived, not[Pg 302] to leave a record of such and such an old woman who did this or that, but rather to stamp upon our minds the impression of a mystery-haunted house, mysterious figures entering, strange words, and a terrible sorrow behind all. Towards such a result the structure of the plot, every bit of description, every carefully chosen word, directly tends.—Henry Seidel Canby, The Book of the Short Story.
This, too, is a story in the sense that something happens; however, the real story, meaning the narrative that would logically connect and develop these events, is only hinted at and is not very significant. It's actually secondary to a new goal. “The White Old Maid” serves a purpose, and that purpose is to create an impression and leave us with a strong feeling rather than a collection of facts to remember. In short, it’s designed not to record specific details about an old woman who did this or that, but rather to embed in our minds the image of a house filled with mystery, shadowy figures appearing, strange words, and a deep sadness lurking beneath it all. Every aspect of the plot, every description, and every carefully selected word contributes directly to achieving this outcome.—Henry Seidel Canby, The Book of the Short Story.
FURTHER REFERENCES FOR READING ON HAWTHORNE
FURTHER REFERENCES FOR READING ON HAWTHORNE
Hours in a Library, Leslie Stephen (1874); Study of Hawthorne, George Parsons Lathrop (1876); Life, in the English Men of Letters series, Henry James (1880); Nathaniel Hawthorne and His Wife, Julian Hawthorne (1885); Life, in the Great Writers series, Moncure D. Conway (1890); Personal Recollections of Nathaniel Hawthorne, Horatio Bridge (1893); Memories of Hawthorne, Rose Hawthorne Lathrop (1897); Nathaniel Hawthorne, Anne Fields (1899); Life, in the American Men of Letters series, George Edward Woodberry (1902).
Hours in a Library, Leslie Stephen (1874); Study of Hawthorne, George Parsons Lathrop (1876); Life, in the English Men of Letters series, Henry James (1880); Nathaniel Hawthorne and His Wife, Julian Hawthorne (1885); Life, in the Great Writers series, Moncure D. Conway (1890); Personal Recollections of Nathaniel Hawthorne, Horatio Bridge (1893); Memories of Hawthorne, Rose Hawthorne Lathrop (1897); Nathaniel Hawthorne, Anne Fields (1899); Life, in the American Men of Letters series, George Edward Woodberry (1902).
THE WHITE OLD MAID
BY NATHANIEL HAWTHORNE
BY NATHANIEL HAWTHORNE
The moonbeams came through two deep and narrow windows, and showed a spacious chamber richly furnished in an antique fashion. From one lattice the shadow of the diamond panes was thrown upon[Pg 303] the floor; the ghostly light, through the other, slept upon a bed, falling between the heavy silken curtains, and illuminating the face of a young man.First Plot Situation. But, how quietly the slumberer lay! how pale his features! and how like a shroud the sheet was wound about his frame! Yes; it was a corpse, in its burial clothes.
The moonlight streamed through two narrow, deep windows, revealing a spacious room filled with antique furnishings. The shadow of the diamond-shaped panes fell on the floor from one window; the eerie light from the other rested on a bed, filtering through the heavy silk curtains and lighting up the face of a young man.Initial Plot Situation. But how peacefully the sleeper lay! How pale his features! And how much like a shroud the sheet was wrapped around him! Yes; it was a corpse, dressed in burial clothes.
2. Suddenly, the fixed features seemed to move with dark emotion. Strange fantasy! It was but the shadow of the fringed curtain waving betwixt the dead face and the moonlight, as the door of the chamber opened and a girl stole softly to the bedside. Was there delusion in the moonbeams, or did her gesture and her eye betray a gleam of triumph, as she bent over the pale corpse—pale as itself—and pressed her living lips to the cold ones of the dead? As she drew back from that long kiss, her features writhed as if a proud heart were fighting with its anguish. Again it seemed that the features of the corpse had moved responsive to her own. Still an illusion! The silken curtain had waved, a second time, betwixt the dead face and the moonlight, as another fair young girl unclosed the door, and glided, ghostlike, to the bedside. Two main characters introduced.There the two maidens stood, both beautiful, with the pale beauty of the dead between them. But she who had first entered was proud and stately, and the other a soft and fragile thing.
2. Suddenly, the fixed features seemed to shift with dark emotion. What a strange fantasy! It was just the shadow of the fringed curtain swaying between the dead face and the moonlight, as the door of the room opened and a girl quietly approached the bedside. Was it an illusion in the moonlight, or did her gesture and her eyes show a hint of triumph as she leaned over the pale corpse—pale as the corpse itself—and pressed her living lips against the cold ones of the dead? As she pulled back from that long kiss, her features twisted as if a proud heart was battling with its sorrow. Once again, it seemed that the features of the corpse had responded to her own. Still an illusion! The silken curtain waved again between the dead face and the moonlight, as another fair young girl opened the door and glided, ghostlike, to the bedside. Two main characters introduced.There the two maidens stood, both beautiful, with the pale beauty of the dead between them. But the one who had entered first was proud and regal, while the other was soft and delicate.
[Pg 304]
[Pg 304]
3. “Away!” cried the lofty one. “Thou hadst him living! The dead is mine!”
3. “Go away!” shouted the tall one. “You had him alive! The dead is mine!”
4. “Thine!” returned the other, shuddering. “Well hast thou spoken! The dead is thine!”
4. “Yours!” the other replied, shuddering. “You’ve spoken well! The dead belongs to you!”
5. The proud girl started, and stared into her face with a ghastly look. But a wild and mournful expression passed across the features of the gentle one; and weak and helpless, she sank down on the bed, her head pillowed beside that of the corpse, and her hair mingling with his dark locks. A creature of hope and joy, the first draught of sorrow had bewildered her.
5. The proud girl flinched and looked at her with a pale expression. But a wild and sorrowful look crossed the gentle girl's face; feeling weak and helpless, she sank down onto the bed, resting her head next to the corpse, her hair intertwining with his dark strands. A being of hope and happiness, she was thrown off by her first taste of grief.
6. “Edith!” cried her rival.
"Edith!" shouted her rival.
7. Edith groaned, as with a sudden compassion of the heart; and removing her cheek from the dead youth’s pillow, she stood upright, fearfully encountering the eyes of the lofty girl.
7. Edith groaned, feeling a sudden pang of compassion; and pulling her cheek away from the dead youth’s pillow, she stood up, nervously meeting the gaze of the tall girl.
8. “Wilt thou betray me?” said the latter calmly.
8. “Will you betray me?” said the latter calmly.
9. “Till the dead bid me speak, I will be silent,” answered Edith. “Leave us alone together! Go, and live many years, and then return, and tell me of thy life. He, too, will be here! Then, if thou tellest of sufferings more than death, we will both forgive thee.”
9. “Until the dead tell me to speak, I will stay silent,” Edith replied. “Leave us alone together! Go live your life for many years, and then come back and tell me about it. He’ll be here too! Then, if you share stories of suffering greater than death, we will both forgive you.”
10. “And what shall be the token?” asked the proud girl, as if her heart acknowledged a meaning in these wild words.
10. “And what will be the sign?” asked the proud girl, as if her heart understood a significance in these wild words.
11. “This lock of hair,” said[Pg 305] Edith, lifting one of the dark, clustering curls that lay heavily on the dead man’s brow.
11. “This lock of hair,” said[Pg 305] Edith, lifting one of the dark, clustered curls that rested on the dead man’s forehead.
12. The two maidens joined their hands over the bosom of the corpse, and appointed a day and hour, far, far in time to come, for their next meeting in that chamber. The statelier girl gave one deep look at the motionless countenance, and departed—yet turned again and trembled ere she closed the door, almost believing that her dead lover frowned upon her. And Edith, too! Was not her white form fading into the moonlight? Scorning her own weakness she went forth, and perceived that a negro slave was waiting in the passage with a wax-light, which he held between her face and his own, and regarded her, as she thought, with an ugly expression of merriment. Lifting his torch on high, the slave lighted her down the staircase, and undid the portal of the mansion. End of first part of story.The young clergyman of the town had just ascended the steps, and bowing to the lady, passed in without a word.
12. The two women clasped their hands over the chest of the corpse and set a date and time, far in the future, for their next meeting in that room. The taller girl took one last deep look at the lifeless face and left—but stopped, trembling, before she closed the door, almost convinced that her dead lover was frowning at her. And Edith, too! Wasn’t her pale figure fading into the moonlight? Ashamed of her own vulnerability, she stepped outside and noticed a black slave waiting in the hallway with a wax candle, which he held between her face and his own, looking at her, as she thought, with an unpleasant expression of amusement. Raising his torch high, the slave guided her down the stairs and opened the door to the mansion. End of the first part of the story. The young clergyman of the town had just climbed the steps and, bowing to the lady, entered without saying a word.
13. Years, many years, rolled on; the world seemed new again, so much older was it grown since the night when those pale girls had clasped their hands across the bosom of the corpse. In the interval, a lonely woman had passed from youth to extreme age, and was known by all the town as the “Old Maid in the Winding Sheet.”Hawthorne’s first title for this story. A [Pg 306] taint of insanity had affected her whole life, but so quiet, sad, and gentle, so utterly free from violence, that she was suffered to pursue her harmless fantasies, unmolested by the world, with whose business or pleasure she had nought to do. Character delineation, largely mental and moral.She dwelt alone, and never came into the daylight, except to follow funerals. Whenever a corpse was borne along the street in sunshine, rain, or snow; whether a pompous train of the rich and proud thronged after it, or few and humble were the mourners, behind them came the lonely woman in a long white garment which the people called her shroud. She took no place among the kindred or the friends, but stood at the door to hear the funeral prayer, and walked in the rear of the procession, as one whose earthly charge it was to haunt the house of mourning, and be the shadow of affliction, and see that the dead were duly buried. Key.So long had this been her custom that the inhabitants of the town deemed her a part of every funeral, as much as the coffin pall, or the very corpse itself, and augured ill of the sinner’s destiny unless the “Old Maid in the Winding Sheet” came gliding, like a ghost, behind. Contributory incident.Once, it is said, she affrighted a bridal party with her pale presence, appearing suddenly in the illuminated hall, just as the priest was uniting a false maid to a wealthy man, before her lover had been dead a year. Evil was the omen to that[Pg 307] marriage! Sometimes she stole forth by moonlight and visited the graves of venerable Integrity, and wedded Love, and virgin Innocence,Note language of symbolism. and every spot where the ashes of a kind and faithful heart were mouldering. Over the hillocks of those favored dead would she stretch out her arms, with a gesture, as if she were scattering seeds; and many believed that she brought them from the garden of Paradise; for the graves which she had visited were green beneath the snow, and covered with sweet flowers from April to November. Her blessing was better than a holy verse upon the tombstone.Key. Thus wore away her long, sad, peaceful, and fantastic life, till few were so old as she, and the people of later generations wondered how the dead had ever been buried, or mourners had endured their grief, without the “Old Maid in the Winding Sheet.”
13. Years, many years, went by; the world felt new again, having grown so much older since the night when those pale girls had clasped their hands over the corpse. In that time, a lonely woman had aged from youth to extreme old age and was known throughout the town as the “Old Maid in the Winding Sheet.”Hawthorne's original title for this story. A[Pg 306] hint of insanity influenced her whole life, but she was so quiet, sad, and gentle—so completely free from violence—that people allowed her to pursue her harmless fantasies without interference from the world, with which she had nothing to do. Character definition, mainly in terms of mental and moral aspects. She lived alone and never came into the daylight except to follow funerals. Whenever a corpse was carried down the street in sunshine, rain, or snow; whether a grand procession of the wealthy and powerful followed it, or only a few humble mourners were present, behind them walked the lonely woman in a long white garment that people called her shroud. She took no place among the family or friends, but stood at the door to listen to the funeral prayer and walked at the back of the procession as if it were her earthly duty to haunt the house of mourning, to be the shadow of sorrow, and to ensure that the dead were properly buried. Key. For so long had this been her routine that the townspeople considered her part of every funeral, as much as the coffin pall or the corpse itself, and believed it was a bad omen for the deceased's fate if the “Old Maid in the Winding Sheet” did not appear, gliding like a ghost behind.Contributing incident. Once, it is said, she frightened a bridal party with her pale presence, appearing suddenly in the brightly lit hall just as the priest was marrying a false bride to a wealthy man, before her lover had been dead a year. That was an evil sign for the[Pg 307] marriage! Sometimes she ventured out by moonlight to visit the graves of venerable Integrity, wedded Love, and virgin Innocence,Note the language of symbolism. and every place where the ashes of kind and faithful hearts lay. Over the mounds of those favored dead, she would stretch out her arms as if scattering seeds; many believed she brought them from the garden of Paradise because the graves she visited remained green beneath the snow and were covered with sweet flowers from April to November. Her blessing was better than a holy verse on the tombstone.Key. Thus passed her long, sad, peaceful, and fantastic life, until few were as old as she, and people of later generations wondered how the dead had ever been buried or how mourners endured their grief without the “Old Maid in the Winding Sheet.”
14. Still years went on, and still
she followed funerals, and was not
yet summoned to her own festival
of death. One afternoon the great
street of the town was all alive with
business and bustle, though the sun
now gilded only the upper half of the
church spire, having left the housetops
and loftiest trees in shadow. Preparation for main crisis.
Opening of Main Plot Incident.
The scene was cheerful and animated,
in spite of the sombre shade
between the high brick buildings.
Here were pompous merchants, in
white wigs and laced velvet; the[Pg 308]
bronzed faces of sea-captains; the
foreign garb and air of Spanish creoles;Local-color.
and the disdainful port of natives
of Old England; all contrasted
with the rough aspect of one or two
back settlers, negotiating sales of
timber from forests where axe had
never sounded. Sometimes a lady
passed, swelling roundly forth in an
embroidered petticoat, balancing her
steps in high-heeled shoes, and
courtesying with lofty grace to the
punctilious obeisances of the gentlemen.Central setting; return to
original setting.
The life of the town seemed
to have its very centre not far from
an old mansion, that stood somewhat
back from the pavement, surrounded
by neglected grass, with a strange air
of loneliness, rather deepened than
dispelled by the throng so near. Its
site would have been suitably occupied
by a magnificent Exchange or
a brick block, lettered all over with
various signs; or the large house
itself might have made a noble tavern,
with the “King’s Arms” swinging
before it, and guests in every
chamber, instead of the present solitude.Development of setting, and
TONE OF AN EMPTY HOUSE.
But owing to some dispute
about the right of inheritance, the
mansion had been long without a
tenant, decaying from year to year,
and throwing the stately gloom of its
shadow over the busiest part of the
town. Such was the scene, and
such the time, when a figure unlike
any that have been described was
observed at a distance down the
street.
14. Years went by, and she continued to attend funerals, yet her own death celebration had not yet been called. One afternoon, the main street of the town was bustling with activity, though the sun only lit up the top half of the church spire, leaving the rooftops and tallest trees in shade. Preparing for the main crisis.
Opening of Main Plot Incident.
The scene was lively and cheerful, despite the dark shadow cast by the tall brick buildings. There were pompous merchants in white wigs and fancy velvet; sun-tanned sea captains; Spanish creoles dressed in foreign attire; Local flavor.
and the proud demeanor of locals from Old England, all contrasting with the rough appearance of a few backwoods settlers negotiating timber sales from forests where an axe had never been heard. Occasionally, a lady would pass by, elegantly dressed in an embroidered petticoat, carefully walking in high-heeled shoes and gracefully curtsying to the formal greetings of the gentlemen. Main setting; go back to the original setting.
The town's life seemed to revolve around an old mansion that stood a bit back from the sidewalk, surrounded by overgrown grass, giving off a unique sense of loneliness that was intensified rather than lessened by the closeness of the crowd. The location would have been perfect for a grand Exchange or a brick building full of signs; or the large house itself could have served as a fine tavern, with the “King’s Arms” swinging out front and guests filling every room instead of the current emptiness. Development of the setting, and
TONE OF AN EMPTY HOUSE.
However, due to a dispute over inheritance rights, the mansion had long been unoccupied, decaying year after year, casting its stately shadow over the busiest part of town. Such was the scene, and such was the time, when an unusual figure was spotted in the distance down the street.
[Pg 309]
[Pg 309]
15. “I espy a strange sail, yonder,” remarked a Liverpool captain; “that woman in the long white garment!”
15. “I see a strange sail over there,” remarked a Liverpool captain; “that woman in the long white dress!”
16. The sailor seemed much struck by the object, as were several others who, at the same moment, caught a glimpse of the figure that had attracted his notice. Almost immediately the various topics of conversation gave place to speculations, in an undertone, on this unwonted occurrence.
16. The sailor appeared very intrigued by the object, as were several others who, at the same moment, caught sight of the figure that had caught his attention. Almost instantly, the different topics of conversation shifted to quiet speculations about this unusual event.
17. “Can there be a funeral so late this afternoon?” inquired some.
17. "Is there going to be a funeral this late this afternoon?" some asked.
18. They looked for the signs of death at every door—the sexton, the hearse, the assemblage of black-clad relatives—all that makes up the woful pomp of funerals. They raised their eyes, also, to the sun-gilt spire of the church, and wondered that no clang proceeded from its bell, which had always tolled till now when this figure appeared in the light of day. But none had heard that a corpse was to be borne to its home that afternoon, nor was there any token of funeral, except the apparition of the “Old Maid in the Winding Sheet.”
18. They searched for signs of death at every door—the grave digger, the hearse, the gathering of family in black—all the sad spectacle of funerals. They also looked up at the sunlit spire of the church and were surprised that there was no ringing from its bell, which had always tolled when this figure appeared in the light of day. But no one had heard that a body was to be taken to its final resting place that afternoon, and there were no signs of a funeral, except for the appearance of the “Old Maid in the Winding Sheet.”
19. “What may this portend?” asked each man of his neighbor.
19. “What could this mean?” asked each man to his neighbor.
20. All smiled as they put the question, yet with a certain trouble in their eyes, as if pestilence or some other wide calamity were prognosticated by the untimely intrusion among the living of one whose presence [Pg 310] had always been associated with death and woe. What a comet is to the earth was that sad woman to the town. Still she moved on, while the hum of surprise was hushed at her approach, and the proud and the Impressionism vivid. humble stood aside, that her white garment might not wave against them. It was a long, loose robe, of spotless purity. Its wearer appeared very old, pale, emaciated, and feeble, Direct character description. yet glided onward without the unsteady pace of extreme age. At one point of her course a little rosy boy burst forth from a door, and ran, with open arms, towards the ghostly woman, seeming to expect a kiss from her bloodless lips. She made a slight Contrast. pause, fixing her eye upon him with an expression of no earthly sweetness, so the child shivered and stood awe-struck, rather than affrighted, while the Old Maid passed on. Character delineation by suggestion.Perhaps her garment might have been polluted even by an infant’s touch; perhaps her kiss would have been death to the sweet boy within a year.
20. Everyone smiled as they asked the question, but there was a certain anxiety in their eyes, as if a plague or some other disaster was predicted by the unexpected arrival of someone whose presence had always been linked to death and sorrow. That sad woman was like a comet to the town. Still, she moved forward while the buzz of surprise faded as she approached, and both the proud and the humble stepped aside so her white garment wouldn’t brush against them. It was a long, loose robe, pure and spotless. The woman looked very old, pale, thin, and frail, yet she glided along without the shaky gait of extreme age. At one point, a little rosy-cheeked boy dashed out of a door and ran toward the ghostly woman with open arms, seeming to expect a kiss from her lifeless lips. She paused briefly, fixing her gaze on him with an expression of otherworldly sweetness, making the child shiver and stand in awe rather than fear, while the Old Maid continued on. Perhaps her garment could have been tainted by even a child’s touch; perhaps her kiss would have brought death to the sweet boy within a year.
21. “She is but a shadow,” whispered the superstitious. “The child put forth his arms and could not grasp her robe!”
21. "She's just a shadow," whispered the superstitious. "The child reached out his arms and couldn't grab her robe!"
22. The wonder was increased when the Old Maid passed beneath the porch of the deserted mansion, ascended the moss-covered steps, lifted the iron knocker, and gave three raps. The people could only conjecture that some old remembrance, troubling her bewildered brain, had impelled the [Pg 311] poor woman hither to visit the friends of her youth; The house mentioned in paragraphs 1, 12 and 14.all gone from their home long since and forever, unless their ghosts still haunted it—fit company for the “Old Maid in the Winding Sheet.” An elderly man approached the steps, and, reverently uncovering his gray locks, essayed to explain the matter.
22. The wonder grew as the Old Maid walked under the porch of the empty mansion, climbed the moss-covered steps, lifted the iron knocker, and knocked three times. People could only guess that some old memory, confusing her muddled mind, had pushed the poor woman to visit the friends of her youth; [Pg 311] all long gone from their home, probably forever, unless their ghosts still lingered there—suitable company for the “Old Maid in the Winding Sheet.” An older man approached the steps, and, respectfully removing his gray hat, tried to explain the situation.
Contributory incident.
23. “None, Madam,” said he, “have dwelt in this house these fifteen years agone—no, not since the death of old Colonel Fenwicke,First mention of name. whose funeral you may remember to have followed. His heirs, being ill agreed among themselves, have let the mansion-house go to ruin.”
23. “None, ma'am,” he said, “has lived in this house for the last fifteen years—not since the death of old Colonel Fenwicke,First mention of the name. whose funeral you might remember attending. His heirs, unable to agree with each other, have allowed the mansion to fall into disrepair.”
24. The Old Maid looked slowly round with a slight gesture of one hand, and a finger of the other upon her lip, appearing more shadow-like than ever in the obscurity of the porch. But again she lifted the hammer, and gave, this time, a single rap. Note atmosphere of vagueness.Could it be that a footstep was now heard coming down the staircase of the old mansion, which all conceived to have been so long untenanted? Slowly, feebly, yet heavily, like the pace of an aged and infirm person, the step approached, more distinct on every downward stair, till it reached the portal. The bar fell on the inside; the door opened. One upward glance towards the church spire, whence the sunshine had just faded, was the last that the people saw of the “Old Maid in the Winding Sheet.”
24. The Old Maid slowly looked around with a slight gesture of one hand, while the finger of her other hand rested on her lip, appearing even more ghost-like in the dim light of the porch. But again she raised the hammer and gave a single knock this time. Note vague atmosphere. Could it be that a footstep was now heard coming down the staircase of the old mansion, which everyone thought had been empty for so long? Slowly, feebly, yet heavily, like the walk of an elderly and frail person, the step came closer, more distinct with each step down, until it reached the door. The bar fell on the inside; the door opened. One last glance upward towards the church spire, from which the sunlight had just faded, was the last thing the people saw of the “Old Maid in the Winding Sheet.”
[Pg 312]
[Pg 312]
25. “Who undid the door?” asked many.
25. “Who opened the door?” asked many.
26. This question, owing to the depth of shadow beneath the porch, no one could satisfactorily answer. Two or three aged men, while protesting against an inference which might be drawn,See ¶12. affirmed that the person within was a negro, and bore a singular resemblance to old Cæsar, formerly a slave in the house, but freed by death some thirty years before.
26. This question, because of the deep shadow under the porch, no one could answer satisfactorily. Two or three older men, while denying any conclusion that could be drawn,See __A_TAG_PLACEHOLDER_0__. stated that the person inside was a Black man and looked strikingly like old Cæsar, who had been a slave in the house but had died about thirty years ago.
27. “Her summons has waked up a servant of the old family,” said one, half seriously.
27. “Her call has awakened a servant of the old family,” said one, half seriously.
28. “Let us wait here,” replied another. “More guests will knock at the door, anon. But the gate of the graveyard should be thrown open!”
28. “Let’s wait here,” replied another. “More guests will arrive soon. But the gate to the graveyard should be opened!”
29. Twilight had overspread the town before the crowd began to separate, or the comments on this incident were exhausted. Preparation for climax.One after another was wending his way homeward, when a coach—no common spectacle in those days—drove slowly into the street. It was an old-fashioned equipage, hanging close to the ground, with arms on the panels, a footman behind, and a grave, corpulent No indication whence it came. coachman seated high in front—the whole giving an idea of solemn state and dignity. There was something awful in the heavy rumbling of the wheels. The coach rolled down the street, till, coming to the gateway Setting. of the deserted mansion, it[Pg 313] drew up, and the footman sprang to the ground.
29. Twilight had settled over the town before the crowd started to break up or finished discussing the incident. Getting ready for the climax. One by one, people began making their way home when a coach—something rare back then—slowly drove into the street. It was an old-fashioned carriage, sitting low to the ground, adorned with decorations on the sides, with a footman at the back, and a serious, heavyset No indication where it came from. coachman perched up front—the whole thing exuding an air of solemnity and dignity. The deep rumble of the wheels was ominous. The coach rolled down the street until it reached the entrance Setting. of the abandoned mansion, where it came to a stop, and the footman leapt down to the ground.
30. “Whose grand coach is this?” asked a very inquisitive body.
30. “Whose fancy carriage is this?” asked a really curious person.
31. The footman made no reply, but ascended the steps of the old house, gave three raps with the iron hammer, and returned to open the coach door. Three raps signify a formal demand for entrance.An old man, possessed of the heraldic lore so common in that day, examined the shield of arms on the panel.
31. The footman didn’t respond, but he climbed the steps of the old house, knocked three times with the iron hammer, and went back to open the coach door. Three knocks indicate a formal request to enter. An old man, knowledgeable about the heraldry that was common at the time, looked at the coat of arms on the panel.
32. “Azure, a lion’s head erased, between three flower-de-luces,” said he; then whispered the name of the family to whom these bearings belonged.Setting. The last inheritor of his honors was recently dead, after a long residence amid the splendor of the British court, where his birth and wealth had given him no mean station. “He left no child,” continued the herald, “and these arms, being in a lozenge, betoken that the coach appertains to his widow.”
32. “Blue, a lion’s head cut off, between three lilies,” he said; then whispered the name of the family these symbols belonged to.Setting. The last person to inherit his honors had recently died after a long stay at the lavish British court, where his background and wealth had granted him a respectable position. “He didn’t have any children,” the herald continued, “and these arms, being in a diamond shape, signify that the coach belongs to his widow.”
33. Further disclosures, perhaps, might have been made had not the speaker suddenly been struck dumb by the stern eye of an ancient lady who thrust forth her head from the coach, preparing to descend. As she emerged, the people saw that her dress was magnificent, and her figure dignified, in spite of age and infirmity—a stately ruin but with a look, at once, of pride and wretchedness. Her strong and rigid features had an awe about them, unlike that of the white Old Maid, but as of something [Pg 314] evil. Contributory incident.She passed up the steps, leaning on a gold-headed cane; the door swung open as she ascended—and the light of a torch glittered on the embroidery of her dress, and gleamed on the pillars of the porch. After a momentary pause—a glance backwards—and then a desperate effort—she went in. The decipherer of the coat of arms had ventured up the lowest step, and shrinking back immediately, pale and tremulous, affirmed that the torch was held by the very image of old Cæsar.
33. More revelations might have come out if the speaker hadn’t suddenly lost their voice due to the intense gaze of an old lady who poked her head out from the coach, getting ready to get out. As she stepped out, everyone noticed her dress was stunning, and her figure was dignified, despite her age and frailty—a proud but tragic sight. Her strong, rigid features had a powerful presence about them, unlike that of the white Old Maid, but more like something ominous. She climbed the steps, leaning on a gold-headed cane; the door opened as she went up—and the light from a torch sparkled on the embroidery of her dress and shone on the porch pillars. After a brief pause—a quick look back—and then a determined effort—she entered. The person identifying the coat of arms had dared to step onto the lowest step and immediately recoiled, pale and trembling, claiming the torch was held by the very image of old Cæsar.
Compare ¶12.
34. “But such a hideous grin,” added he, “was never seen on the face of mortal man, black or white! It will haunt me till my dying day.”
34. “But such a horrible grin,” he added, “has never been seen on the face of any person, no matter their race! It will haunt me until the day I die.”
35. Meanwhile, the coach had wheeled round, with a prodigious clatter on the pavement, and rumbled up the street, disappearing in the twilight, while the ear still tracked its course. Scarcely was it gone, when the people began to question whether the coach and attendants, the ancient lady, the spectre of old Cæsar, and the Old Maid herself, Key.were not all a strangely combined delusion, with some dark purport in its mystery.Atmosphere—a sense of something about to occur. The whole town was astir, so that, instead of dispersing, the crowd continually increased, and stood gazing up at the windows of the mansion, now silvered by the brightening moon. The elders, glad to indulge the narrative propensity of age, told of the long-faded splendor of the family, the entertainments they had[Pg 315] given, and the guests, the greatest of the land, and even titled and noble ones from abroad, who had passed beneath that portal. These graphic reminiscences seemed to call up the ghosts of those to whom they referred. So strong was the impression on some of the more imaginative hearers, that two or three were seized with trembling fits, at one and the same moment, protesting that they had distinctly heard three other raps of the iron knocker.
35. Meanwhile, the coach turned around with a loud clatter on the pavement and rolled up the street, disappearing into the twilight while the sound of it still lingered in the air. Hardly had it left when people began to wonder if the coach and its attendants, the elderly lady, the ghost of old Cæsar, and the Old Maid herself, Key. were all just a bizarre illusion, hiding some dark secret. Atmosphere—a feeling that something is about to happen. The whole town was buzzing, so instead of breaking up, the crowd kept growing, standing and staring up at the mansion's windows, now shimmering in the brightening moonlight. The older folks, happy to share the nostalgia that comes with age, talked about the long-gone grandeur of the family, the lavish parties they held, and the distinguished guests, including nobles and titled people from abroad, who had entered through that door. These vivid memories seemed to bring back the spirits of those they spoke of. The impression was so strong on some of the more imaginative listeners that two or three suddenly began to tremble, insisting they had distinctly heard three more knocks from the iron knocker.
36. “Impossible!” exclaimed others. “See! The moon shines beneath the porch, and shows every part of it, except in the narrow shade of that pillar. There is no one there!”
36. “No way!” others shouted. “Look! The moonlight is shining under the porch, illuminating everything except for the small shadow cast by that pillar. There’s nobody there!”
37. “Did not the door open?” whispered one of these fanciful persons.
37. “Didn’t the door open?” whispered one of these imaginative people.
38. “Didst thou see it, too?” said his companion, in a startled tone.
38. “Did you see it too?” said his companion, in a startled tone.
39. But the general sentiment was opposed to the idea that a third visitant had made application at the door of the deserted house. A few, however, adhered to this new marvel, and even declared that a red gleam like that of a torch had shone through the great front window, as if the negro were lighting a guest up the staircase. Tone.This, too, was pronounced a mere fantasy. But at once the whole multitude started, and each man beheld his own terror painted in the faces of all the rest.
39. But most people were against the idea that a third visitor had knocked on the door of the empty house. A few, however, clung to this strange idea and even claimed that they saw a red glow like a torch coming through the large front window, as if someone was guiding a guest up the stairs. Vibe.This was also dismissed as just a figment of imagination. But suddenly, the entire crowd jolted, and each person saw their own fear reflected in the faces of everyone around them.
40. “What an awful thing is this!” cried they.
40. “What an awful thing this is!” they exclaimed.
[Pg 316]
[Pg 316]
41. A shriek too fearfully distinct for doubt had been heard within the mansion, breaking forth suddenly, and succeeded by a deep stillness, as if a heart had burst in giving it utterance. The people knew not whether to fly from the very sight of the house, or to rush trembling in, and search out the strange mystery. Amid their confusion and affright,Note shifting of tenses. they are somewhat reassured by the appearance of their clergyman, a venerable patriarch, and equally a saint, who had taught them and their fathers the way to heaven for more than the space of an ordinary life-time.Contributory incident. He was a reverend figure, with long, white hair upon his shoulders, a white beard upon his breast, and a back so bent over his staff that he seemed to be looking downward continually, as if to choose a proper grave for his weary frame. It was some time before the good old man, being deaf and of impaired intellect, could be made to comprehend such portions of the affair as were comprehensible at all. But, when possessed of the facts, his energies assumed unexpected vigor.
41. A scream that was too distinctly terrifying to doubt echoed through the mansion, breaking out suddenly and followed by a deep silence, as if a heart had shattered while expressing it. The people were unsure whether to run away from the sight of the house or to rush in, trembling, to uncover the strange mystery. In the midst of their confusion and fear,Got it! Please provide the text you'd like me to modernize. they found some reassurance in the appearance of their clergyman, a venerable elder and a saint, who had guided them and their fathers on the path to heaven for more than a typical lifetime.Incident report. He was a distinguished figure, with long, white hair cascading over his shoulders, a white beard on his chest, and a back so hunched over his staff that he seemed to be looking down all the time, as if choosing a fitting grave for his weary body. It took some time before the good old man, being hard of hearing and somewhat forgetful, could grasp the parts of the situation that were understandable at all. However, once he had the facts, his energy took on surprising strength.
42. “Verily,” said the old gentleman, “it will be fitting that I enter the mansion-house of the worthy Colonel Fenwicke, lest any harm should have befallen that true Christian woman whom ye call the ‘Old Maid in the Winding Sheet.’”
42. “Truly,” said the old gentleman, “it would be appropriate for me to go into the home of the respectable Colonel Fenwicke, in case any harm has come to that genuine Christian woman you refer to as the ‘Old Maid in the Winding Sheet.’”
43. Behold, then, the venerable clergyman ascending the steps of the[Pg 317] mansion, with a torch-bearer behind him. It was the elderly man who had spoken to the Old Maid, and the same who had afterwards explained the shield of arms and recognized the features of the negro. Like their predecessors, they gave three raps with the iron hammer.
43. Look, then, at the respected clergyman walking up the steps of the[Pg 317] mansion, with a torchbearer behind him. It was the elderly man who had talked to the Old Maid and the same one who later explained the coat of arms and recognized the features of the Black man. Like their predecessors, they knocked three times with the iron hammer.
44. “Old Cæsar cometh not,” observed the priest. “Well I wot he no longer doth service in this mansion.”
44. "Old Caesar isn't coming," the priest noted. "Well, I know he doesn't serve in this house anymore."
45. “Assuredly, then, it was something worse, in old Cæsar’s likeness!” said the other adventurer.
45. “Surely, then, it was something worse, in old Caesar’s likeness!” said the other adventurer.
46. “Be it as God wills,” answered the clergyman. “See! my strength, though it be much decayed, hath sufficed to open this heavy door. Let us enter and pass up the staircase.”
46. "It is as God wishes," the clergyman replied. "Look! My strength, although it has greatly diminished, has been enough to open this heavy door. Let’s go in and head up the staircase."
47. Here occurred a singular exemplification of the dreamy state of a very old man’s mind. As they ascended the wide flight of stairs, the aged clergyman appeared to move with caution, occasionally standing aside, and oftener bending his head, as it were in salutation, thus practising all the gestures of one who makes his way through a throng. Reaching the head of the staircase, he looked around with sad and solemn benignity, laid aside his staff, bared his hoary locks, and was evidently on the point of commencing a prayer.
47. Here was a unique example of the dreamy state of a very old man’s mind. As they climbed the wide staircase, the elderly clergyman seemed to move carefully, sometimes stepping aside and more often bowing his head, as if greeting someone, thus performing all the gestures of a person navigating through a crowd. When he reached the top of the stairs, he looked around with a sad and solemn kindness, set down his staff, revealed his gray hair, and was clearly about to start a prayer.
48. “Reverend Sir,” said his attendant, who conceived this a very[Pg 318] suitable prelude to their further search, “would it not be well that the people join with us in prayer?”
48. “Reverend Sir,” said his assistant, who thought this was a very[Pg 318] fitting way to start their next search, “wouldn’t it be a good idea for the people to pray with us?”
49. “Welladay!” cried the old clergyman, staring strangely around him. “Art thou here with me, and none other? Verily, past times were present to me, and I deemed that I was to make a funeral prayer, as many a time heretofore, from the head of this staircase. Of a truth, I saw the shades of many that are gone. Deft introduction of central character.Yea, I have prayed at their burials, one after another, and the ‘Old Maid in the Winding Sheet’ hath seen them to their graves!”
49. “Oh my!” exclaimed the old clergyman, looking around him in confusion. “Are you really here with me, and no one else? Truly, memories from the past were alive in my mind, and I thought I was supposed to give a funeral prayer, just like so many times before, from the top of this staircase. Indeed, I saw the spirits of many who have passed. Skillful introduction of main character. Yes, I have prayed at their funerals, one after another, and the ‘Old Maid in the Winding Sheet’ has guided them to their graves!”
50. Being now more thoroughly awake to their present purpose, he took his staff and struck forcibly on the floor, till there came an echo from each deserted chamber, but no menial to answer their summons.Tone. They therefore walked along the passage, and again paused, opposite to the great front window through which was seen the crowd, in the shadow and partial moonlight of the street beneath.Key. On their right hand was the open door of a chamber, and a closed one on their left. The clergyman pointed his cane to the carved oak panel of the latter.
50. Now fully aware of their current purpose, he took his staff and struck the floor firmly until an echo resonated from each empty room, but there was no servant to respond to their call.Vibe. They then walked down the hallway and paused again in front of the large window, where they could see the crowd in the shadows and partial moonlight of the street below.Key. On their right was the open door to a room, and on their left was a closed one. The clergyman directed his cane toward the carved oak panel of the latter.
51. “Within that chamber,” observed he, “a whole life-time since, did I sit by the death-bed of a goodly young man, who, being now at the last gasp”—
51. “In that room,” he noted, “a lifetime ago, I sat by the deathbed of a decent young man, who, now at his last breath—”
52. Apparently there was some powerful excitement in the ideas [Pg 319] which had now flashed across his mind. He snatched the torch from his companion’s hand, and threw open the door with such sudden violence that the flame was extinguished, leaving them no other light than the moonbeams, which fell through two windows into the spacious chamber. Note author’s device.It was sufficient to discover all that could be known. In a high-backed oaken armchair, upright, with her hands clasped across her heart, and her head thrown back, sat the “Old Maid in the Winding Sheet.” The stately dame had fallen on her knees, with her forehead on the holy knees of the Old Maid, one hand upon the floor and the other pressed convulsively against her heart. The decision must be inferred.It clutched a lock of hair, once sable, now discolored with a greenish mould. As the priest and layman advanced into the chamber, the Old Maid’s features assumed such a semblance of shifting expression that they trusted to hear the whole mystery explained by a single word. Tone of vagueness to the end.But it was only the shadow of a tattered curtain waving betwixt the dead face and the moonlight.
52. There was clearly a lot of intense emotion in the ideas that had just flashed through his mind. He grabbed the torch from his friend's hand and flung the door open with such force that the flame went out, leaving them with no other light than the moonlight streaming through two windows into the large room. It was enough to reveal everything that could be known. In a tall-backed oak armchair, sitting upright with her hands clasped over her heart and her head thrown back, was the “Old Maid in the Winding Sheet.” The dignified woman had fallen to her knees, her forehead resting on the holy knees of the Old Maid, one hand on the floor and the other pressed tightly against her chest. It clutched a lock of hair, once dark, now stained with a greenish mold. As the priest and layman moved into the room, the Old Maid's face shifted in such a way that they felt they might hear the whole mystery revealed with just one word. But it was only the shadow of a tattered curtain fluttering between the dead face and the moonlight.
Vague denouement.
53. “Both dead!” said the venerable man. “Then who shall divulge the secret? Methinks it glimmers to and fro in my mind, like the light and shadow across the Old Maid’s face. And now ’tis gone!”
53. “Both dead!” said the old man. “So who will reveal the secret? It flickers in my mind, like the light and shadow on the Old Maid’s face. And now it’s gone!”
[Pg 320]
[Pg 320]
FOR ANALYSIS
FOR ANALYSIS
THE FALL OF THE HOUSE OF USHER
BY EDGAR ALLAN POE
BY EDGAR ALLAN POE
Son cœur est un luth suspendu;
Sitôt qu’on le touche il résonne.
Son cœur est un luth suspendu;
Dès qu'on le touche, il résonne.
Beranger.
Beranger.
During the whole of a dull, dark, and soundless day in the autumn of the year, when the clouds hung oppressively low in the heavens, I had been passing alone, on horseback, through a singularly dreary tract of country; and at length found myself, as the shades of the evening drew on, within view of the melancholy House of Usher. I know not how it was, but, with the first glimpse of the building, a sense of insufferable gloom pervaded my spirit. I say insufferable; for the feeling was unrelieved by any of that half-pleasurable, because poetic, sentiment with which the mind usually receives even the sternest natural images of the desolate or terrible. I looked upon the scene before me—upon the mere house, and the simple landscape features of the domain, upon the bleak walls, upon the vacant eye-like windows, upon a few rank sedges, and upon a few white trunks of decayed trees—with an utter depression of soul which I can compare to no earthly sensation more properly than to the after-dream of the[Pg 321] reveler upon opium: the bitter lapse into everyday life, the hideous dropping off of the veil. There was an iciness, a sinking, a sickening of the heart, an unredeemed dreariness of thought, which no goading of the imagination could torture into aught of the sublime. What was it—I paused to think—what was it that so unnerved me in the contemplation of the House of Usher? It was a mystery all insoluble; nor could I grapple with the shadow fancies that crowded upon me as I pondered. I was forced to fall back upon the unsatisfactory conclusion that while, beyond doubt, there are combinations of very simple natural objects which have the power of thus affecting us, still the analysis of this power lies among considerations beyond our depth. It was possible, I reflected, that a mere different arrangement of the particulars of the scene, of the details of the picture, would be sufficient to modify, or perhaps to annihilate, its capacity for sorrowful impression, and, acting upon this idea, I reined my horse to the precipitous brink of a black and lurid tarn that lay in unruffled lustre by the dwelling, and gazed down—but with a shudder even more thrilling than before—upon the remodeled and inverted images of the gray sedge, and the ghastly tree-stems, and the vacant and eye-like windows.
On a dull, dark, and quiet autumn day, when the clouds hung so low in the sky, I had been riding alone through an unusually dreary stretch of countryside. As evening approached, I finally found myself in sight of the gloomy House of Usher. I don’t know why, but the first glimpse of the building filled me with an overwhelming sense of despair. I say overwhelming because this feeling wasn't softened by any of that bittersweet, poetic sentiment that people usually feel with even the most grim natural scenes. I looked at the scene before me—the house itself and the simple landscape surrounding it, the stark walls, the vacant eye-like windows, a few tall weeds, and a handful of white trunks of decaying trees—with a deep sadness that I can't compare to anything other than the aftereffects of an opium-induced state: the harsh return to reality, the hideous withdrawal of the illusion. There was an icy feeling, a sinking sensation, a sickening of the heart, and an unredeemed heaviness of thought that no amount of imagination could turn into something uplifting. What was it—I paused to consider—what was it that made me so uneasy as I gazed at the House of Usher? It was a mystery that I couldn't solve, nor could I handle the shadowy thoughts that flooded my mind as I reflected. I was left with the unsatisfying conclusion that while there are certainly combinations of very simple natural elements that can affect us this way, the reasons behind this power are beyond our understanding. I thought it was possible that just a different arrangement of the scene's details could change, or maybe even remove, its ability to evoke sadness. Acting on this idea, I guided my horse to the steep edge of a dark, murky tarn that lay still and shiny beside the house, and looked down—but with an even more intense shudder than before—at the distorted and inverted reflections of the gray reeds, the eerie tree trunks, and the vacant, eye-like windows.
2. Nevertheless, in this mansion of gloom I now proposed to myself a sojourn[Pg 322] of some weeks. Its proprietor, Roderick Usher, had been one of my boon companions in boyhood; but many years had elapsed since our last meeting. A letter, however, had lately reached me in a distant part of the country—a letter from him—which in its wildly importunate nature had admitted of no other than a personal reply. The MS. gave evidence of nervous agitation. The writer spoke of acute bodily illness, of a mental disorder which oppressed him, and of an earnest desire to see me, as his best and indeed his only personal friend, with a view of attempting, by the cheerfulness of my society, some alleviation of his malady. It was the manner in which all this, and much more, was said—it was the apparent heart that went with his request—which allowed me no room for hesitation; and I accordingly obeyed forthwith what I still considered a very singular summons.
2. Still, in this dark mansion, I planned to stay for a few weeks. Its owner, Roderick Usher, had been one of my closest friends during childhood, but it had been many years since we last saw each other. Recently, I received a letter from him while I was far away—one that demanded a personal response because of its urgent tone. The handwriting showed signs of nervous distress. He mentioned suffering from severe physical illness and a mental disorder that weighed heavily on him, as well as a strong desire to see me, as his dearest and really only friend, hoping that my company would help ease his suffering. It was the way he expressed all of this, along with the genuine feeling behind his request, that left me no choice but to comply with what I thought was a rather unusual call.
3. Although as boys we had been even intimate associates, yet I really knew little of my friend. His reserve had been always excessive and habitual. I was aware, however, that his very ancient family had been noted, time out of mind, for a peculiar sensibility of temperament, displaying itself, through long ages, in many works of exalted art, and manifested of late in repeated deeds of munificent yet unobtrusive charity, as well as in a passionate devotion to the intricacies, perhaps even more[Pg 323] than to the orthodox and easily recognizable beauties, of musical science. I had learned, too, the very remarkable fact that the stem of the Usher race, all time-honored as it was, had put forth at no period any enduring branch; in other words, that the entire family lay in the direct line of descent, and had always, with a very trifling and very temporary variation, so lain. It was this deficiency, I considered, while running over in thought the perfect keeping of the character of the premises with the accredited character of the people, and while speculating upon the possible influence which the one, in the long lapse of centuries, might have exercised upon the other,—it was this deficiency, perhaps, of collateral issue, and the consequent undeviating transmission from sire to son of the patrimony with the name, which had at length so identified the two as to merge the original title of the estate in the quaint and equivocal appellation of the “House of Usher,”—an appellation which seemed to include, in the minds of the peasantry who used it, both the family and the family mansion.
3. Even though we had been very close friends as kids, I really didn’t know much about my friend. He was always excessively reserved and it was just part of his nature. I did know that his very old family had been known for ages for a unique sensitivity of temperament, which had been expressed over many years in various outstanding works of art, and more recently through generous but low-key acts of charity, as well as a passionate dedication to the complexities, maybe even more than to the conventional and easily recognizable beauty, of music. I had also learned the interesting fact that the Usher lineage, despite its long-standing history, had never produced any lasting branches; in other words, the entire family had remained in a direct line of descent with very little and very temporary variation. I considered this lack of side branches while I reflected on how perfectly the character of the estate matched the established nature of the family, and while I speculated about the possible influence that one may have had on the other over centuries. It was perhaps this lack of collateral descendants, and the resulting unbroken transmission of both the inheritance and the name from father to son, that ultimately merged the original title of the estate into the unique and ambiguous name of the “House of Usher”—a name that seemed to encompass both the family and their home in the minds of the local people who used it.
4. I have said that the sole effect of my somewhat childish experiment, that of looking down within the tarn, had been to deepen the first singular impression. There can be no doubt that the consciousness of the rapid increase of my superstition—for why should I not so term it?—served[Pg 324] mainly to accelerate the increase itself. Such, I have long known, is the paradoxical law of all sentiments having terror as a basis. And it might have been for this reason only, that, when I again uplifted my eyes to the house itself from its image in the pool, there grew in my mind a strange fancy,—a fancy so ridiculous, indeed, that I but mention it to show the vivid force of the sensations which oppressed me. I had so worked upon my imagination as really to believe that about the whole mansion and domain there hung an atmosphere peculiar to themselves and their immediate vicinity: an atmosphere which had no affinity with the air of heaven, but which had reeked up from the decayed trees, and the gray wall, and the silent tarn; a pestilent and mystic vapor, dull, sluggish, faintly discernible, and leaden-hued.
4. I've said that the only result of my somewhat childish experiment of looking down into the pond was to intensify the first unusual impression. There's no doubt that my growing superstition—why not call it that?—mainly fueled its own escalation. I’ve long realized that this is the paradoxical nature of all emotions rooted in fear. And it might have been for this reason alone that, when I lifted my eyes back to the house from its reflection in the water, a strange idea took hold of me—such a ridiculous idea, in fact, that I mention it just to illustrate the intense feelings that overwhelmed me. I had managed to convince myself that there was a unique atmosphere surrounding the entire mansion and its grounds: an atmosphere that had nothing to do with the fresh air of the heavens but originated from the decaying trees, the gray wall, and the silent pond; a foul and mystical mist, dull, sluggish, barely noticeable, and heavy in color.
5. Shaking off from my spirit what must have been a dream, I scanned more narrowly the real aspect of the building. Its principal feature seemed to be that of an excessive antiquity. The discoloration of ages had been great. Minute fungi overspread the whole exterior, hanging in a fine tangled web-work from the eaves. Yet all this was apart from any extraordinary dilapidation. No portion of the masonry had fallen; and there appeared to be a wild inconsistency between its still perfect adaptation of parts and the crumbling condition[Pg 325] of the individual stones. In this there was much that reminded me of the specious totality of old wood-work which has rotted for long years in some neglected vault, with no disturbance from the breath of the external air. Beyond this indication of extensive decay, however, the fabric gave little token of instability. Perhaps the eye of a scrutinizing observer might have discovered a barely perceptible fissure, which, extending from the roof of the building in front, made its way down the wall in a zigzag direction, until it became lost in the sullen waters of the tarn.
5. Shaking off what must have been a dream, I looked more closely at the actual appearance of the building. Its main feature seemed to be its extreme age. It had weathered significantly over time. Tiny fungi covered the entire exterior, dangling in a delicate, tangled web from the eaves. Yet despite this, it wasn't in any remarkable state of disrepair. No part of the masonry had crumbled away, and there was a strange inconsistency between its still perfect components and the deteriorating condition of the individual stones. This reminded me of the deceptive solidity of old woodwork that has rotted for many years in some forgotten vault, untouched by outside air. Aside from this sign of considerable decay, the structure showed little sign of instability. Perhaps a careful observer might have detected a barely visible crack, which ran from the roof of the building in front, down the wall in a zigzag pattern, until it disappeared into the dark waters of the tarn.
6. Noticing these things, I rode over a short causeway to the house. A servant in waiting took my horse, and I entered the Gothic archway of the hall. A valet, of stealthy step, thence conducted me in silence through many dark and intricate passages in my progress to the studio of his master. Much that I encountered on the way contributed, I know not how, to heighten the vague sentiments of which I have already spoken. While the objects around me—while the carvings of the ceiling, the sombre tapestries of the walls, the ebon blackness of the floors, and the phantasmagoric armorial trophies which rattled as I strode, were but matters of which, or to such as which, I had been accustomed from my infancy,—while I hesitated not to acknowledge how familiar was all this, I still wondered[Pg 326] to find how unfamiliar were the fancies which ordinary images were stirring up. On one of the staircases I met the physician of the family. His countenance, I thought, wore a mingled expression of low cunning and perplexity. He accosted me with trepidation and passed on. The valet now threw open a door and ushered me into the presence of his master.
6. Noticing these things, I rode over a short causeway to the house. A waiting servant took my horse, and I entered the Gothic archway of the hall. A quietly moving valet then guided me in silence through many dark and intricate passages on my way to his master's studio. Much of what I encountered on the way somehow heightened the vague feelings I've already mentioned. While the objects around me—the ceiling carvings, the dark tapestries on the walls, the deep black floors, and the ghostly heraldic trophies that rattled as I walked—were things I had been used to since childhood, I couldn't help but be struck by how unfamiliar the thoughts stirred by these familiar images were. On one of the staircases, I ran into the family doctor. I thought his face showed a mix of slyness and confusion. He spoke to me nervously and then moved on. The valet then opened a door and welcomed me into the presence of his master.
7. The room in which I found myself was very large and lofty. The windows were long, narrow, and pointed, and at so vast a distance from the black oaken floor as to be altogether inaccessible from within. Feeble gleams of encrimsoned light made their way through the trellised panes, and served to render sufficiently distinct the more prominent objects around; the eye, however, struggled in vain to reach the remoter angles of the chamber, or the recesses of the vaulted and fretted ceiling. Dark draperies hung upon the walls. The general furniture was profuse, comfortless, antique, and tattered. Many books and musical instruments lay scattered about, but failed to give any vitality to the scene. I felt that I breathed an atmosphere of sorrow. An air of stern, deep, and irredeemable gloom hung over and pervaded all.
7. The room I was in was very large and high. The windows were long, narrow, and pointed, set so far above the dark oak floor that they were completely out of reach from inside. Weak rays of crimson light trickled through the trellised panes, enough to clearly outline the more prominent objects nearby; however, my eyes struggled in vain to reach the farther corners of the room or the recesses of the vaulted and intricate ceiling. Dark drapes hung on the walls. The furniture was plentiful but uncomfortable, old, and worn out. Many books and musical instruments were scattered around, yet they didn’t bring any life to the scene. I could sense a heavy atmosphere of sorrow. A sense of deep, serious, and inescapable gloom hung over everything.
8. Upon my entrance, Usher arose from a sofa on which he had been lying at full length, and greeted me with a vivacious warmth which had[Pg 327] much in it, I at first thought, of an overdone cordiality,—of the constrained effort of the ennuyé man of the world. A glance, however, at his countenance, convinced me of his perfect sincerity. We sat down; and for some moments, while he spoke not, I gazed upon him with a feeling half of pity, half of awe. Surely man had never before so terribly altered, in so brief a period, as had Roderick Usher! It was with difficulty that I could bring myself to admit the identity of the wan being before me with the companion of my early boyhood. Yet the character of his face had been at all times remarkable. A cadaverousness of complexion; an eye large, liquid, and luminous beyond comparison; lips somewhat thin and very pallid, but of a surpassingly beautiful curve; a nose of a delicate Hebrew model, but with a breadth of nostril unusual in similar formations; a finely-moulded chin, speaking, in its want of prominence, of a want of moral energy; hair of a more than web-like softness and tenuity,—these features, with an inordinate expansion above the regions of the temple, made up altogether a countenance not easily to be forgotten. And now in the mere exaggeration of the prevailing character of these features, and of the expression they were wont to convey, lay so much of change that I doubted to whom I spoke. The now ghastly pallor of the skin, and[Pg 328] the now miraculous lustre of the eye, above all things startled and even awed me. The silken hair, too, had been suffered to grow all unheeded, and as, in its wild gossamer texture, it floated rather than fell about the face, I could not, even with effort, connect its arabesque expression with any idea of simple humanity.
8. When I walked in, Usher got up from the sofa where he had been lying down and greeted me with an enthusiastic warmth that at first felt a bit over the top, like the forced friendliness of a jaded socialite. However, a quick look at his face assured me of his genuine sincerity. We sat down, and for a few moments, while he remained silent, I stared at him with a mix of pity and awe. Surely no one had ever changed so drastically in such a short time as Roderick Usher! It was hard to believe that the pale figure in front of me was the same person I had known as a child. Yet, his features had always been striking. He had a cadaverous complexion, an eye that was large, liquid, and more luminous than anything I had ever seen; lips that were somewhat thin and very pale, yet had a beautifully curved shape; a delicate Hebrew-style nose, but with unusually wide nostrils; and a finely shaped chin that, in its lack of prominence, suggested a lack of moral energy. His hair was more than just soft and thin—these features, along with an exaggerated expansion around his temples, created a face that was hard to forget. Now, the exaggerated version of these features and the expression they used to convey showed so much change that I questioned who I was speaking to. The ghastly pallor of his skin and the miraculous shine in his eyes shocked and awed me the most. His silky hair had been allowed to grow unruly, and as it floated around his face like wild gossamer, I struggled to connect its intricate expression to anything resembling ordinary humanity.
9. In the manner of my friend I was at once struck with an incoherence, an inconsistency; and I soon found this to arise from a series of feeble and futile struggles to overcome an habitual trepidancy, an excessive nervous agitation. For something of this nature I had indeed been prepared, no less by his letter than by reminiscences of certain boyish traits, and by conclusions deduced from his peculiar physical conformation and temperament. His action was alternately vivacious and sullen. His voice varied rapidly from a tremulous indecision (when the animal spirits seemed utterly in abeyance) to that species of energetic concision—that abrupt, weighty, unhurried, and hollow-sounding enunciation, that leaden, self-balanced, and perfectly modulated guttural utterance—which may be observed in the lost drunkard, or the irreclaimable eater of opium, during the periods of his most intense excitement.
9. Like my friend, I was immediately struck by a lack of coherence and consistency; and I quickly realized this stemmed from a series of weak and pointless attempts to overcome a constant nervousness and excessive agitation. I had actually been prepared for something like this, not only because of his letter but also due to memories of certain childish traits and conclusions drawn from his unique physical build and temperament. His behavior was a mix of lively and gloomy. His voice quickly shifted from a shaky uncertainty (when his spirits seemed completely gone) to a kind of forceful succinctness—that abrupt, heavy, unhurried, and hollow-sounding speech that you might notice in a hopeless drunkard or someone deeply addicted to opium during their most intense moments.
10. It was thus that he spoke of the object of my visit, of his earnest desire to see me, and of the solace[Pg 329] he expected me to afford him. He entered at some length into what he conceived to be the nature of his malady. It was, he said, a constitutional and a family evil, and one for which he despaired to find a remedy,—a mere nervous affection, he immediately added, which would undoubtedly soon pass off. It displayed itself in a host of unnatural sensations. Some of these, as he detailed them, interested and bewildered me; although, perhaps, the terms and the general manner of the narration had their weight. He suffered much from a morbid acuteness of the senses; the most insipid food was alone endurable; he could wear only garments of certain texture; the odors of all flowers were oppressive; his eyes were tortured by even a faint light; and there were but peculiar sounds, and these from stringed instruments, which did not inspire him with horror.
10. So he talked about why I was visiting, his strong wish to see me, and the comfort he hoped I could give him. He went into detail about what he believed his condition was. He said it was a hereditary and family issue, and one he had almost given up hope of curing — just a nervous disorder, he quickly added, that would surely pass soon. It showed itself through many strange sensations. Some of these descriptions fascinated and confused me, although the way he talked and the words he chose played a part in that. He experienced a heightened sensitivity in his senses; only the blandest food was tolerable; he could only wear clothes made of specific fabrics; the smells of all flowers felt overwhelming; his eyes were tormented by even the faintest light; and only certain sounds, particularly from stringed instruments, didn’t fill him with dread.
11. To an anomalous species of terror I found him a bounden slave. “I shall perish,” said he, “I must perish in this deplorable folly. Thus, thus, and not otherwise, shall I be lost. I dread the events of the future, not in themselves, but in their results. I shudder at the thought of any, even the most trivial, incident, which may operate upon this intolerable agitation of soul. I have, indeed, no abhorrence of danger, except in its absolute effect,—in terror. In this unnerved, in this pitiable condition,[Pg 330] I feel that the period will sooner or later arrive when I must abandon life and reason together in some struggle with the grim phantasm, Fear.”
11. To a strange kind of terror I found him a bounden slave. “I will die,” he said, “I must die in this awful madness. This way, this way, and not any other, will I be lost. I fear what the future holds, not for the events themselves, but for their outcomes. I cringe at the thought of any, even the smallest, incident, that could affect this unbearable agitation of my soul. I really have no aversion to danger, except to its ultimate effect—terror. In this weakened, in this pitiful state,[Pg 330] I feel that the time will come sooner or later when I must give up both life and reason in some struggle with the grim shadow, Fear.”
12. I learned moreover at intervals, and through broken and equivocal hints, another singular feature of his mental condition. He was enchained by certain superstitious impressions in regard to the dwelling which he tenanted, and whence for many years he had never ventured forth, in regard to an influence whose supposititious force was conveyed in terms too shadowy here to be restated,—an influence which some peculiarities in the mere form and substance of his family mansion had, by dint of long sufferance, he said, obtained over his spirit; an effect which the physique of the gray walls and turrets, and of the dim tarn into which they all looked down, had at length brought about upon the morale of his existence.
12. I also learned at times, through fragmented and unclear hints, another strange aspect of his mental state. He was trapped by certain superstitions about the house he lived in, from which he hadn’t stepped outside for many years, related to an influence whose supposed power was described in terms too vague to repeat here—an influence that some unique features of the structure and materials of his family home had, through prolonged exposure, he claimed, exerted over his mind; an effect that the grim appearance of the gray walls and towers, along with the murky pond they all overlooked, had ultimately had on the overall nature of his life.
13. He admitted, however, although with hesitation, that much of the peculiar gloom which thus afflicted him could be traced to a more natural and far more palpable origin,—to the severe and long-continued illness, indeed to the evidently approaching dissolution, of a tenderly beloved sister, his sole companion for long years, his last and only relative on earth. “Her decease,” he said, with a bitterness which I can never forget, “would leave him[Pg 331] (him, the hopeless and the frail) the last of the ancient race of the Ushers.” While he spoke, the lady Madeline (for so was she called) passed slowly through a remote portion of the apartment, and, without having noticed my presence, disappeared. I regarded her with an utter astonishment not unmingled with dread, and yet I found it impossible to account for such feelings. A sensation of stupor oppressed me, as my eyes followed her retreating steps. When a door, at length, closed upon her, my glance sought instinctively and eagerly the countenance of the brother; but he had buried his face in his hands, and I could only perceive that a far more than ordinary wanness had overspread the emaciated fingers through which trickled many passionate tears.
13. He confessed, though hesitantly, that much of the strange gloom that weighed on him could be traced to a more natural and obvious source—his sister's long, serious illness, which clearly marked the end of her life. She was the only person he had been close to for many years and his last family member on earth. “Her death,” he said, with a bitterness I'll never forget, “would leave me (me, the hopeless and frail) as the last of the ancient Ushers.” While he spoke, Lady Madeline (as she was called) slowly passed through a distant part of the room, unnoticed by him, and vanished. I watched her in utter astonishment mixed with fear, though I couldn't explain why. A sensation of numbness weighed on me as I followed her retreating form with my eyes. When a door finally closed behind her, I instinctively and eagerly looked at her brother's face; but he had buried his face in his hands, and I could only see that his already pale fingers were even more drained of color, through which many passionate tears flowed.
14. The disease of the lady Madeline had long baffled the skill of her physicians. A settled apathy, a gradual wasting away of the person, and frequent although transient affections of a partially cataleptical character, were the unusual diagnosis. Hitherto she had steadily borne up against the pressure of her malady, and had not betaken herself finally to bed: but, on the closing-in of the evening of my arrival at the house, she succumbed (as her brother told me at night with inexpressible agitation) to the prostrating power of the destroyer; and I learned that the glimpse I had obtained of her person[Pg 332] would thus probably be the last I should obtain,—that the lady, at least while living, would be seen by me no more.
14. Lady Madeline's illness had long puzzled her doctors. She showed a constant apathy, a slow decline in her health, and frequent but brief episodes resembling catalepsy, which made for a strange diagnosis. Until then, she had managed to endure the burden of her condition and had not yet gone to bed for good. However, on the evening of my arrival at the house, she finally gave in (as her brother told me later that night, deeply shaken) to the devastating force of her illness; I learned that the brief glimpse I had caught of her would likely be the last I would ever see of her—at least while she was alive.
15. For several days ensuing, her name was unmentioned by either Usher or myself; and during this period I was busied in earnest endeavors to alleviate the melancholy of my friend. We painted and read together; or I listened, as if in a dream, to the wild improvisation of his speaking guitar. And thus, as a closer and still closer intimacy admitted me more unreservedly into the recesses of his spirit, the more bitterly did I perceive the futility of all attempt at cheering a mind from which darkness, as if an inherent positive quality, poured forth upon all objects of the moral and physical universe, in one unceasing radiation of gloom.
15. For several days after that, neither Usher nor I mentioned her name; and during this time, I focused on trying to ease my friend's sadness. We painted and read together, or I would listen, almost like dreaming, to the wild tunes from his guitar. As our intimacy deepened and I was allowed further into his inner thoughts, I increasingly realized how pointless it was to try to lift a spirit that, as if it were a natural part of him, released darkness onto everything in the moral and physical world, radiating gloom without end.
16. I shall ever bear about me a memory of the many solemn hours I thus spent alone with the master of the House of Usher. Yet I should fail in any attempt to convey an idea of the exact character of the studies, or of the occupations, in which he involved me, or led me the way. An excited and highly distempered ideality threw a sulphureous lustre over all. His long, improvised dirges will ring forever in my ears. Among other things, I hold painfully in mind a certain singular perversion and amplification of the wild air of the last waltz of Von Weber. From the[Pg 333] paintings over which his elaborate fancy brooded, and which grew, touch by touch, into vaguenesses at which I shuddered the more thrillingly because I shuddered knowing not why,—from these paintings (vivid as their images now are before me) I would in vain endeavor to educe more than a small portion which should lie within the compass of merely written words. By the utter simplicity, by the nakedness of his designs, he arrested and overawed attention. If ever mortal painted an idea, that mortal was Roderick Usher. For me at least, in the circumstances then surrounding me, there arose, out of the pure abstractions which the hypochondriac contrived to throw upon his canvas, an intensity of intolerable awe, no shadow of which felt I ever yet in the contemplation of the certainly glowing yet too concrete reveries of Fuseli.
16. I will always carry with me the memory of the many serious hours I spent alone with the master of the House of Usher. However, I would struggle to express the exact nature of the studies or activities he engaged me in or guided me through. An intense and disturbed imagination cast a sultry glow over everything. His long, improvised laments will echo in my ears forever. Among other things, I painfully remember a strange twist and expansion of the wild melody from the last waltz by Von Weber. From the[Pg 333] paintings that his intricate mind dwelled upon, which gradually transformed into vague shapes that made me shudder even more because I didn’t understand why,—from these paintings (as vivid as their images are in my mind now) I would struggle in vain to extract more than a small part that could be expressed in mere written words. Through the utter simplicity and rawness of his designs, he captured and overwhelmed my attention. If anyone ever painted an idea, that person was Roderick Usher. At least for me, given the circumstances surrounding me at the time, there emerged from the pure abstractions that the hypochondriac managed to project onto his canvas an intensity of unbearable awe, a feeling I had never experienced in contemplating the certainly striking yet too tangible dreams of Fuseli.
17. One of the phantasmagoric conceptions of my friend, partaking not so rigidly of the spirit of abstraction, may be shadowed forth, although feebly, in words. A small picture presented the interior of an immensely long and rectangular vault or tunnel, with low walls, smooth, white, and without interruption or device. Certain accessory points of the design served well to convey the idea that this excavation lay at an exceeding depth below the surface of the earth. No outlet was observed in any portion of its vast extent, and[Pg 334] no torch, or other artificial source of light, was discernible; yet a flood of intense rays rolled throughout, and bathed the whole in a ghastly and inappropriate splendor.
17. One of my friend's fantastical ideas, which doesn’t strictly stick to the spirit of abstraction, can be vaguely described in words. A small picture showed the inside of an incredibly long and rectangular vault or tunnel, with low, smooth, white walls that were uninterrupted and had no features. Some elements of the design effectively conveyed that this excavation was very deep below the earth's surface. There was no visible exit anywhere in its vastness, and no torch or any other artificial light source could be seen; yet a flood of intense rays filled the space, casting a ghastly and inappropriate glow over everything.
18. I have just spoken of that morbid condition of the auditory nerve which rendered all music intolerable to the sufferer, with the exception of certain effects of stringed instruments. It was, perhaps, the narrow limits to which he thus confined himself upon the guitar, which gave birth, in great measure, to the fantastic character of his performances. But the fervid facility of his impromptus could not be so accounted for. They must have been, and were, in the notes as well as in the words of his wild fantasias (for he not unfrequently accompanied himself with rhymed verbal improvisations), the result of that intense mental collectedness and concentration to which I have previously alluded as observable only in particular moments of the highest artificial excitement. The words of one of these rhapsodies I have easily remembered. I was, perhaps, the more forcibly impressed with it as he gave it, because, in the under or mystic current of its meaning, I fancied that I perceived, and for the first time, a full consciousness, on the part of Usher, of the tottering of his lofty reason upon her throne. The verses, which[Pg 335] were entitled “The Haunted Palace,” ran very nearly, if not accurately, thus:—
18. I just talked about that strange condition of the auditory nerve that made all music unbearable for the sufferer, except for certain sounds from stringed instruments. It might have been the limited range he restricted himself to on the guitar that gave a lot of shape to the unique nature of his performances. But the intense ease of his spontaneous pieces can’t be solely explained that way. They must have been, and were, evident in both the notes and the words of his wild fantasias (since he often accompanied himself with improvised rhymes), the result of that deep mental focus and concentration I previously mentioned, which was only noticeable during certain moments of extreme artificial excitement. I easily remembered the words of one of these rhapsodies. I was probably more struck by it as he performed, because in the underlying or mysterious current of its meaning, I thought I detected, for the first time, Usher’s full awareness of his fragile reason teetering on its throne. The verses, titled “The Haunted Palace,” went very nearly, if not exactly, like this:—
I.
I.
In the greenest of our valleys
By good angels tenanted,
Once a fair and stately palace—
Radiant palace—reared its head.
In the monarch Thought’s dominion,
It stood there;
Never seraph spread a pinion
Over fabric half so fair.
In the greenest part of our valleys
Surrounded by good angels,
There once stood a beautiful and impressive palace—
A shining palace—raised its head.
In the realm of the monarch Thought,
It was there;
No angel ever spread a wing
Over a structure that is only half as beautiful.
II.
II.
Banners yellow, glorious, golden,
On its roof did float and flow
(This—all this—was in the olden
Time long ago),
And every gentle air that dallied,
In that sweet day,
Along the ramparts plumed and pallid,
A winged odor went away.
Banners yellow, glorious, golden,
Drifted and moved across its surface
(This—all this—was back in the
Old days long ago,
And every gentle breeze that lingered,
On that amazing day,
Along the ramparts, feathered and pale,
A pleasant scent drifted away.
III.
III.
Wanderers in that happy valley
Through two luminous windows saw
Spirits moving musically
To a lute’s well-tunèd law,
Round about a throne, where sitting,
Porphyrogene,
In state his glory well befitting,
The ruler of the realm was seen.
Wanderers in that joyful valley
Looked through two bright windows
Spirits moving gracefully
To the perfect tune of a lute,
Gathered around a throne, where sitting,
Porphyrogenite,
In a way that suited his glory well,
The ruler of the kingdom was spotted.
IV.
IV.
And all with pearl and ruby glowing
Was the fair palace door,
Through which came flowing, flowing, flowing,
And sparkling evermore,
A troop of Echoes, whose sweet duty
Was but to sing,
In voices of surpassing beauty,
The wit and wisdom of their king.
And all with glowing pearls and rubies
Was the gorgeous palace door,
Through which came flowing, flowing, flowing,
And sparkling forever,
A crowd of Echoes, whose lovely task
Just to sing,
In voices of incredible beauty,
The intelligence and insights of their king.
V.
V.
But evil things, in robes of sorrow,
[Pg 336]
Assailed the monarch’s high estate;
(Ah, let us mourn, for never morrow
Shall dawn upon him, desolate!)
And, round about his home, the glory
That blushed and bloomed
Is but a dim-remembered story
Of the old time entombed.
But dark things, dressed in sorrow,
[Pg 336]
Challenged the king's authority;
(Ah, let’s grieve, for no tomorrow
Will shine on him, so alone!)
And, around his home, the glory
That once flourished and thrived
Is just a faintly remembered story
Of the past now forgotten.
VI.
VI.
And travellers now within that valley
Through the red-litten windows see
Vast forms that move fantastically
To a discordant melody;
While, like a ghastly rapid river,
Through the pale door,
A hideous throng rush out forever,
And laugh—but smile no more.
And travelers now in that valley
Through the red-lit windows, see
Huge shapes that move in strange ways
To a bad melody;
While, like a terrifying fast river,
Through the light door,
A horrible crowd rushes out endlessly,
And laughs—but doesn’t smile now.
19. I well remember that suggestions arising from this ballad led us into a train of thought, wherein there became manifest an opinion of Usher’s which I mention, not so much on account of its novelty (for other men have thought thus) as on account of the pertinacity with which he maintained it. This opinion, in its general form, was that of the sentience of all vegetable things. But in his disordered fancy, the idea had assumed a more daring character, and trespassed, under certain conditions, upon the kingdom of inorganization. I lack words to express the full extent or the earnest abandon of his persuasion. The belief, however, was connected (as I have previously hinted) with the gray stones of the home of his forefathers. The conditions of the sentience had been here, he imagined, fulfilled in the method of collocation of these stones,—in the order[Pg 337] of their arrangement, as well as in that of the many fungi which overspread them, and of the decayed trees which stood around; above all, in the long undisturbed endurance of this arrangement, and in its reduplication in the still waters of the tarn. Its evidence—the evidence of the sentience—was to be seen, he said (and I here started as he spoke), in the gradual yet certain condensation of an atmosphere of their own about the waters and the walls. The result was discoverable, he added, in that silent yet importunate and terrible influence which for centuries had moulded the destinies of his family, and which made him what I now saw him,—what he was. Such opinions need no comment, and I will make none.
19. I clearly remember that ideas stemming from this ballad led us into a line of thought where Usher expressed an opinion that I mention not just because it was unique (others have thought this way too) but because he clung to it so strongly. His opinion, in broad terms, was about the awareness of all plant life. However, in his disturbed mind, the idea took on a more audacious form and encroached, under certain conditions, into the realm of the inanimate. I struggle to find words that capture the full depth or genuine fervor of his belief. This belief, as I've hinted before, was tied to the gray stones of his ancestral home. He believed the conditions for sentience were met here, in the way these stones were arranged—along with the many fungi covering them and the decayed trees surrounding them; above all, in the long-lasting stability of this arrangement and its reflection in the still waters of the tarn. He said that the evidence—the evidence of sentience—could be seen in the slow but certain buildup of an atmosphere around the waters and the walls. The result, he added, was evident in that silent yet relentless and terrifying influence that had shaped his family’s fate for centuries, which made him into what I saw him as—what he was. Such beliefs need no comments, and I won’t make any.
20. Our books—the books which for years had formed no small portion of the mental existence of the invalid—were, as might be supposed, in strict keeping with this character of phantasm. We pored together over such works as the Ververt and Chartreuse of Gresset; the Belphegor of Machiavelli; the Heaven and Hell of Swedenborg; the Subterranean Voyage of Nicholas Klimm by Holberg; the Chiromancy of Robert Flud, of Jean D’Indaginé, and of De la Chambre; the Journey into the Blue Distance of Tieck; and the City of the Sun of Campanella. One favorite volume was a small octavo edition of the Directorium Inquisitorum[Pg 338], by the Dominican Eymeric de Gironne; and there were passages in Pomponius Mela, about the old African Satyrs and Ægipans, over which Usher would sit dreaming for hours. His chief delight, however, was found in the perusal of an exceedingly rare and curious book in quarto Gothic,—the manual of a forgotten church,—the Vigilæ Mortuorum secundum Chorum Ecclesiæ Maguntinæ.
20. Our books—the ones that had been a big part of the mental life of the invalid for years—were, as you might expect, totally in line with this dreamlike character. We spent time together going over works like the Ververt and Chartreuse by Gresset; Machiavelli's Belphegor; Swedenborg's Heaven and Hell; Holberg's Subterranean Voyage of Nicholas Klimm; the Chiromancy by Robert Flud, Jean D’Indaginé, and De la Chambre; Tieck's Journey into the Blue Distance; and Campanella's City of the Sun. One favorite book was a small octavo edition of the Directorium Inquisitorum[Pg 338] by the Dominican Eymeric de Gironne; and there were passages in Pomponius Mela about the old African Satyrs and Ægipans that Usher would sit and dream over for hours. His greatest joy, however, came from reading an incredibly rare and intriguing quarto Gothic book—the manual of a forgotten church—the Vigilæ Mortuorum secundum Chorum Ecclesiæ Maguntinæ.
21. I could not help thinking of the wild ritual of this work, and of its probable influence on the hypochondriac, when one evening, having informed me abruptly that the lady Madeline was no more, he stated his intention of preserving her corpse for a fortnight (previously to its final interment), in one of the numerous vaults within the main walls of the building. The worldly reason, however, assigned for this singular proceeding was one which I did not feel at liberty to dispute. The brother had been led to his resolution (so he told me) by consideration of the unusual character of the malady of the deceased, of certain obtrusive and eager inquiries on the part of her medical men, and of the remote and exposed situation of the burial-ground of the family. I will not deny that when I called to mind the sinister countenance of the person whom I met upon the staircase, on the day of my arrival at the house, I had no desire to oppose what I regarded as at best but[Pg 339] a harmless, and by no means an unnatural, precaution.
21. I couldn't help but think about the strange ritual of this task and its likely effect on the hypochondriac when one evening, after abruptly telling me that Lady Madeline had died, he expressed his intention to keep her body for two weeks (before her final burial) in one of the many vaults within the main walls of the building. However, the worldly reason he gave for this unusual act was one I didn’t feel I could challenge. He explained that his decision was influenced by the unusual nature of the deceased’s illness, some probing and eager questions from her doctors, and the remote and exposed location of the family’s burial ground. I won't deny that when I remembered the sinister face of the person I encountered on the staircase the day I arrived at the house, I had no desire to oppose what I saw as, at best, a harmless and completely understandable precaution.
22. At the request of Usher, I personally aided him in the arrangements for the temporary entombment. The body having been encoffined, we two alone bore it to its rest. The vault in which we placed it (and which had been so long unopened that our torches, half smothered in its oppressive atmosphere, gave us little opportunity for investigation) was small, damp, and entirely without means of admission for light; lying, at great depth, immediately beneath that portion of the building in which was my own sleeping apartment. It had been used apparently, in remote feudal times, for the worst purposes of a donjon-keep, and in later days as a place of deposit for powder, or some other highly combustible substance, as a portion of its floor, and the whole interior of a long archway through which we reached it, were carefully sheathed with copper. The door, of massive iron, had been also similarly protected. Its immense weight caused an unusually sharp grating sound as it moved upon its hinges.
22. At Usher's request, I helped him with the arrangements for the temporary burial. After the body was placed in the coffin, we carried it together to its resting place. The vault where we laid it, which hadn’t been opened in a long time, was so damp and oppressive that our torches barely lit the space for us to see. It was small, dark, and located deep beneath the part of the building where my bedroom was. It appeared to have been used in ancient feudal times for the most sinister purposes of a dungeon, and later on as a storage area for gunpowder or some other highly flammable material, since part of its floor and the entire long archway we used to access it were lined with copper. The door, made of heavy iron, was also secured in a similar way. Its great weight made a sharp, grating noise as it swung on its hinges.
23. Having deposited our mournful burden upon tressels within this region of horror, we partially turned aside the yet unscrewed lid of the coffin, and looked upon the face of the tenant. A striking similitude between the brother and sister now[Pg 340] first arrested my attention; and Usher, divining, perhaps, my thoughts, murmured out some few words from which I learned that the deceased and himself had been twins, and that sympathies of a scarcely intelligible nature had always existed between them. Our glances, however, rested not long upon the dead, for we could not regard her unawed. The disease which had thus entombed the lady in the maturity of youth, had left, as usual in all maladies of a strictly cataleptical character, the mockery of a faint blush upon the bosom and the face, and that suspiciously lingering smile upon the lip which is so terrible in death. We replaced and screwed down the lid, and having secured the door of iron, made our way, with toil, into the scarcely less gloomy apartments of the upper portion of the house.
23. After we placed our sorrowful burden on the supports in this place of dread, we partially turned aside the still unscrewed lid of the coffin and looked at the face of the deceased. It struck me for the first time how much the brother and sister resembled each other; and Usher, perhaps sensing my thoughts, quietly said a few words that revealed to me that the deceased and he were twins, and that they had shared a bond of a nearly incomprehensible nature. However, we didn't linger long on the dead because we couldn't look at her without feeling awe. The illness that had sealed the lady in her youth had left, as often happens with strictly cataleptic diseases, a faint blush on her chest and face, and that unnaturally lingering smile on her lips that is so haunting in death. We replaced and closed the lid securely, and after locking the iron door, we made our way, with effort, into the equally dark rooms in the upper part of the house.
24. And now, some days of bitter grief having elapsed, an observable change came over the features of the mental disorder of my friend. His ordinary manner had vanished. His ordinary occupations were neglected or forgotten. He roamed from chamber to chamber with hurried, unequal, and objectless step. The pallor of his countenance had assumed, if possible, a more ghastly hue, but the luminousness of his eye had utterly gone out. The once occasional huskiness of his tone was heard no more; and a tremulous[Pg 341] quaver, as if of extreme terror, habitually characterized his utterance. There were times, indeed, when I thought his unceasingly agitated mind was laboring with some oppressive secret, to divulge which he struggled for the necessary courage. At times, again, I was obliged to resolve all into the mere inexplicable vagaries of madness, for I beheld him gazing upon vacancy for long hours, in an attitude of the profoundest attention, as if listening to some imaginary sound. It was no wonder that his condition terrified—that it infected me. I felt creeping upon me, by slow yet certain degrees, the wild influences of his own fantastic yet impressive superstitions.
24. Some days of deep sorrow passed, and a noticeable change came over my friend's mental state. His usual demeanor had disappeared. He neglected or forgot his regular activities. He wandered from room to room with a hurried, unsteady, and aimless pace. The pallor of his face had taken on, if possible, an even more ghastly shade, but the sparkle in his eyes had completely vanished. The occasional hoarseness in his voice was gone, replaced by a shaky tremor, as if he were filled with extreme fear. There were times when I thought his constantly troubled mind was struggling with some heavy secret that he was trying to muster the courage to reveal. Other times, I had to chalk his behavior up to the mere incomprehensible whims of madness, as I saw him staring into space for long hours, deeply focused as if he were listening to some imaginary noise. It was no surprise that his condition scared me—that it affected me. I could feel the wild influences of his strange yet powerful superstitions creeping over me, slowly but surely.
25. It was, especially, upon retiring to bed late in the night of the seventh or eighth day after the placing of the lady Madeline within the donjon, that I experienced the full power of such feelings. Sleep came not near my couch, while the hours waned and waned away. I struggled to reason off the nervousness which had dominion over me. I endeavored to believe that much if not all of what I felt was due to the bewildering influence of the gloomy furniture of the room,—of the dark and tattered draperies which, tortured into motion by the breath of a rising tempest, swayed fitfully to and fro upon the walls, and rustled uneasily about the decorations of[Pg 342] the bed. But my efforts were fruitless. An irrepressible tremor gradually pervaded my frame; and at length there sat upon my very heart an incubus of utterly causeless alarm. Shaking this off with a gasp and a struggle, I uplifted myself upon the pillows, and, peering earnestly within the intense darkness of the chamber, hearkened—I know not why, except that an instinctive spirit prompted me—to certain low and indefinite sounds which came, through the pauses of the storm, at long intervals, I knew not whence. Overpowered by an intense sentiment of horror, unaccountable yet unendurable, I threw on my clothes with haste (for I felt that I should sleep no more during the night), and endeavored to arouse myself from the pitiable condition into which I had fallen, by pacing rapidly to and fro through the apartment.
25. It was especially on the night of the seventh or eighth day after Lady Madeline was placed in the donjon that I truly felt the weight of my emotions. Sleep wouldn’t come near me as the hours slipped away. I tried to rationalize the anxiety that ruled over me. I struggled to convince myself that much, if not all, of what I felt was due to the unsettling atmosphere of the room—the dark, tattered curtains that swayed restlessly against the walls, stirred by the breath of a rising storm, rustling nervously around the bed’s decorations. But my efforts were in vain. A relentless tremor began to spread through my body, and soon an overwhelming sense of irrational fear settled heavy on my heart. Shaking it off with a gasp and a struggle, I propped myself up on the pillows and, peering intently into the deep darkness of the chamber, listened—I’m not sure why, except that a primal instinct urged me—to certain low, indistinct sounds that came through the lulls of the storm at long intervals, from I know not where. Overcome by an intense feeling of horror, both inexplicable and unbearable, I hurriedly threw on my clothes (feeling that I wouldn’t sleep again that night) and tried to pull myself out of the pitiful state I had fallen into by pacing quickly back and forth across the room.
26. I had taken but a few turns in this manner, when a light step on an adjoining staircase arrested my attention. I presently recognized it as that of Usher. In an instant afterward he rapped with a gentle touch at my door, and entered, bearing a lamp. His countenance was, as usual, cadaverously wan—but, moreover, there was a species of mad hilarity in his eyes,—an evidently restrained hysteria in his whole demeanor. His air appalled me—but anything was preferable[Pg 343] to the solitude which I had so long endured, and I even welcomed his presence as a relief.
26. I had only taken a few steps like this when I heard a light footstep on the nearby staircase that caught my attention. I quickly recognized it as Usher. Moments later, he knocked softly at my door and came in, holding a lamp. His face was, as usual, very pale—but there was also a kind of wild excitement in his eyes, a clear sense of restrained hysteria in his whole demeanor. His presence unsettled me—but anything was better than the solitude I had endured for so long, so I actually welcomed his company as a relief.[Pg 343]
27. “And you have not seen it?” he said abruptly, after having stared about him for some moments in silence,—“you have not then seen it?—but, stay! you shall.” Thus speaking, and having carefully shaded his lamp, he hurried to one of the casements, and threw it freely open to the storm.
27. “And you haven't seen it?” he said suddenly, after looking around in silence for a few moments. “You haven't seen it?—but wait! You will.” With that, he carefully shaded his lamp and rushed to one of the windows, throwing it wide open to the storm.
28. The impetuous fury of the entering gust nearly lifted us from our feet. It was, indeed, a tempestuous yet sternly beautiful night, and one wildly singular in its terror and its beauty. A whirlwind had apparently collected its force in our vicinity, for there were frequent and violent alterations in the direction of the wind; and the exceeding density of the clouds (which hung so low as to press upon the turrets of the house) did not prevent our perceiving the life-like velocity with which they flew careering from all points against each other, without passing away into the distance. I say that even their exceeding density did not prevent our perceiving this; yet we had no glimpse of the moon or stars, nor was there any flashing forth of the lightning. But the under surfaces of the huge masses of agitated vapor, as well as all terrestrial objects immediately around us, were glowing in the unnatural light of a faintly luminous and distinctly visible gaseous[Pg 344] exhalation which hung about and enshrouded the mansion.
28. The rushing force of the wind that hit us nearly knocked us off our feet. It was truly a wild night, both chaotic and strikingly beautiful, uniquely terrifying in its splendor. A whirlwind had clearly gathered strength close by, as the wind changed direction violently and often; the heavy clouds hung so low they felt like they were pressing down on the turrets of the house. Still, we could see how quickly they moved and crashed against one another without disappearing into the distance. Even though the clouds were so thick, we could sense this energy; yet we caught no sight of the moon or stars, nor was there any flash of lightning. But the undersides of the massive, swirling clouds and everything around us were glowing in an eerie light from a faintly luminous, visible gas that surrounded and enveloped the mansion.
29. “You must not—you shall not behold this!” said I shudderingly, to Usher, as I led him with a gentle violence from the window to a seat. “These appearances, which bewilder you, are merely electrical phenomena not uncommon—or it may be that they have their ghastly origin in the rank miasma of the tarn. Let us close this casement; the air is chilling and dangerous to your frame. Here is one of your favorite romances. I will read, and you shall listen;—and so we will pass away this terrible night together.”
29. “You can't—you shouldn't look at this!” I said shuddering to Usher, as I gently pulled him away from the window to a seat. “These appearances that confuse you are just electrical phenomena that aren't rare—or maybe they come from the foul miasma of the tarn. Let’s close this window; the air is cold and dangerous for you. Here’s one of your favorite stories. I’ll read it, and you’ll listen; and we'll get through this terrible night together.”
30. The antique volume which I had taken up was the “Mad Trist” of Sir Launcelot Canning; but I had called it a favorite of Usher’s more in sad jest than in earnest; for, in truth, there is little in its uncouth and unimaginative prolixity which could have had interest for the lofty and spiritual ideality of my friend. It was, however, the only book immediately at hand; and I indulged a vague hope that the excitement which now agitated the hypochondriac might find relief (for the history of mental disorder is full of similar anomalies) even in the extremeness of the folly which I should read. Could I have judged, indeed, by the wild, overstrained air of vivacity with which he hearkened, or apparently hearkened,[Pg 345] to the words of the tale, I might well have congratulated myself upon the success of my design.
30. The old book I picked up was the “Mad Trist” by Sir Launcelot Canning; I had called it a favorite of Usher’s more out of sad humor than for real reasons, because, honestly, there’s not much in its awkward and unimaginative length that would have captured the interest of my friend’s lofty and spiritual ideals. However, it was the only book I had on hand, and I had a vague hope that the excitement stirring within the hypochondriac might find some relief (after all, the history of mental disorders is full of similar oddities) even in the extreme silliness of what I was about to read. If I could have judged, really, by the wild, strained excitement with which he listened—or seemed to listen—to the story, I might have felt quite pleased with the success of my plan.
31. I had arrived at that well-known portion of the story where Ethelred, the hero of the Trist, having sought in vain for peaceable admission into the dwelling of the hermit, proceeds to make good an entrance by force. Here, it will be remembered, the words of the narrative run thus:—
31. I had reached that famous part of the story where Ethelred, the hero of the Trist, after searching in vain for a peaceful way into the hermit's home, decides to break in by force. At this point, as you'll recall, the story goes like this:—
32. “And Ethelred, who was by nature of a doughty heart, and who was now mighty withal on account of the powerfulness of the wine which he had drunken, waited no longer to hold parley with the hermit, who, in sooth, was of an obstinate and maliceful turn, but, feeling the rain upon his shoulders, and fearing the rising of the tempest, uplifted his mace outright and with blows made quickly room in the plankings of the door for his gauntleted hand; and now, pulling therewith sturdily, he so cracked, and ripped, and tore all asunder, that the noise of the dry and hollow-sounding wood alarumed and reverberated throughout the forest.”
32. “Ethelred, who had a brave heart and was feeling strong because of the powerful wine he had drunk, didn’t waste any time talking to the hermit, who was quite stubborn and malicious. Feeling the rain on his shoulders and worried about the storm coming, he raised his mace and struck hard to make space in the door for his armored hand. Pulling with all his strength, he cracked, ripped, and tore it apart, creating a loud noise that echoed throughout the forest.”
33. At the termination of this sentence I started, and for a moment paused; for it appeared to me (although I at once concluded that my excited fancy had deceived me)—it appeared to me that from some very remote portion of the mansion there came, indistinctly, to my ears,[Pg 346] what might have been in its exact similarity of character the echo (but a stifled and dull one certainly) of the very cracking and ripping sound which Sir Launcelot had so particularly described. It was, beyond doubt, the coincidence alone which had arrested my attention; for, amid the rattling of the sashes of the casements, and the ordinary commingled noises of the still increasing storm, the sound, in itself, had nothing, surely, which should have interested or disturbed me. I continued the story:—
33. At the end of this sentence, I stopped and paused for a moment; it seemed to me (though I quickly decided that my excited imagination had tricked me) that from a very distant part of the mansion, there reached my ears, faintly, what could have been some sort of echo (though definitely a muffled and dull one) of the exact cracking and tearing sound that Sir Launcelot had described so vividly. It was, without a doubt, just the coincidence that caught my attention; because, amidst the rattling of the window sashes and the usual mix of noises from the intensifying storm, the sound itself surely had nothing that should have interested or unsettled me. I continued the story:—
34. “But the good champion Ethelred, now entering within the door, was so enraged and amazed to perceive no signal of the maliceful hermit; but, in the stead thereof, a dragon of a scaly and prodigious demeanor, and of a fiery tongue, which sate in guard before a palace with a floor of silver; and upon the wall there hung a shield of shining brass with this legend enwritten:—
34. “But the brave champion Ethelred, now stepping through the door, was furious and shocked to see no sign of the wicked hermit; instead, there was a dragon with a scaly and impressive presence, breathing fire, guarding a palace with a silver floor; on the wall hung a shield of shining brass with this inscription:—
Who entereth herein, a conqueror hath bin;
Who slayeth the dragon, the shield he shall win.
Whoever enters here has been a conqueror;
Whoever slays the dragon will win the shield.
And Ethelred uplifted his mace, struck upon the head of the dragon, which fell before him, and gave up his pesty breath, with a shriek so horrid and harsh, and withal so piercing, that Ethelred had fain to close his ears with his hands against the dreadful noise of it, the like whereof was never before heard.”
And Ethelred raised his mace, struck the dragon on the head, which fell before him and let out its terrible breath, with a scream so horrible and harsh, and so piercing, that Ethelred had to cover his ears with his hands against the awful noise, unlike anything ever heard before.
[Pg 347]
[Pg 347]
35. Here again I paused abruptly, and now with a feeling of wild amazement, for there could be no doubt whatever that, in this instance, I did actually hear (although from what direction it proceeded I found it impossible to say) a low and apparently distant, but harsh, protracted, and most unusual screaming or grating sound,—the exact counterpart of what my fancy had already conjured up for the dragon’s unnatural shriek as described by the romancer.
35. Once more, I suddenly stopped, feeling an intense shock, because there was no doubt that I heard, though I couldn't tell from where it came, a faint, seemingly distant yet harsh, lingering, and very strange screaming or grating noise—the exact match for what I had imagined as the dragon's eerie shriek described by the storyteller.
36. Oppressed as I certainly was, upon the occurrence of this second and most extraordinary coincidence, by a thousand conflicting sensations, in which wonder and extreme terror were predominant, I still retained sufficient presence of mind to avoid exciting, by any observation, the sensitive nervousness of my companion. I was by no means certain that he had noticed the sounds in question; although, assuredly, a strange alteration had during the last few minutes taken place in his demeanor. From a position fronting my own, he had gradually brought round his chair, so as to sit with his face to the door of the chamber; and thus I could but partially perceive his features, although I saw that his lips trembled as if he were murmuring inaudibly. His head had dropped upon his breast; yet I knew that he was not asleep, from the wide and rigid opening of the[Pg 348] eye as I caught a glance of it in profile. The motion of his body, too, was at variance with this idea, for he rocked from side to side with a gentle yet constant and uniform sway. Having rapidly taken notice of all this, I resumed the narrative of Sir Launcelot, which thus proceeded:—
36. Even though I was definitely feeling oppressed, when this second and most amazing coincidence happened, I experienced a flood of conflicting emotions, with awe and intense fear being the most prominent. Still, I kept enough composure to avoid triggering the sensitive nerves of my companion with any comments. I wasn’t sure if he had noticed the sounds, although it was clear that something strange had changed in his behavior over the past few minutes. He had slowly turned his chair to face the door of the room, so I could only see his features partially, but I could tell his lips were trembling as if he was muttering quietly. His head had dropped to his chest, but I knew he wasn’t asleep because I caught a glimpse of his wide, unblinking eye in profile. His body movements also contradicted that idea, as he swayed gently back and forth in a steady, rhythmic motion. After quickly taking all this in, I went back to telling the story of Sir Launcelot, which continued as follows:—
37. “And now the champion, having escaped from the terrible fury of the dragon, bethinking himself of the brazen shield, and of the breaking up of the enchantment which was upon it, removed the carcass from out of the way before him, and approached valorously over the silver pavement of the castle to where the shield was upon the wall; which in sooth tarried not for his full coming, but fell down at his feet upon the silver floor, with a mighty great and terrible ringing sound.”
37. “And now the champion, having escaped from the terrible rage of the dragon, remembered the bronze shield and the breaking of the enchantment upon it. He moved the carcass out of his way and bravely walked across the silver floor of the castle to where the shield was on the wall; which, in fact, did not wait for him to arrive fully, but fell at his feet on the silver floor with a loud, powerful ringing sound.”
38. No sooner had these syllables passed my lips than—as if a shield of brass had indeed, at the moment, fallen heavily upon a floor of silver—I became aware of a distinct, hollow, metallic, and clangorous yet apparently muffled reverberation. Completely unnerved, I leaped to my feet; but the measured rocking movement of Usher was undisturbed. I rushed to the chair in which he sat. His eyes were bent fixedly before him, and throughout his whole countenance there reigned a stony rigidity. But, as I placed my hand upon his shoulder, there[Pg 349] came a strong shudder over his whole person; a sickly smile quivered about his lips; and I saw that he spoke in a low, hurried, and gibbering murmur, as if unconscious of my presence. Bending closely over him, I at length drank in the hideous import of his words.
38. No sooner had I spoken these words than—like a heavy brass shield crashing down on a silver floor—I noticed a distinct, hollow, metallic, and loud yet somehow muffled echo. Completely shaken, I jumped to my feet; however, Usher's calm swaying was unaffected. I hurried to the chair where he sat. His eyes were fixed straight ahead, and his entire face was rigid with a stony expression. But when I placed my hand on his shoulder, a strong shudder ran through him; a sickly smile twitched on his lips, and I saw that he was speaking in a low, hurried, and mumbling voice, almost as if he didn't realize I was there. Leaning in close, I finally grasped the terrifying meaning of his words.
39. “Not hear it?—yes, I hear it, and have heard it. Long—long—long—many minutes, many hours, many days, have I heard it, yet I dared not—oh, pity me, miserable wretch that I am!—I dared not—I dared not speak! We have put her living in the tomb! Said I not that my senses were acute? I now tell you that I heard her first feeble movements in the hollow coffin. I heard them—many, many days ago—yet I dared not—I dared not speak! And now—to-night—Ethelred—ha! ha!—the breaking of the hermit’s door, and the death-cry of the dragon, and the clangor of the shield!—say rather, the rending of her coffin, and the grating of the iron hinges of her prison, and her struggles within the coppered archway of the vault! Oh, whither shall I fly? Will she not be here anon? Is she not hurrying to upbraid me for my haste? Have I not heard her footsteps on the stair? Do I not distinguish that heavy and horrible beating of her heart? Madman!”—here he sprang furiously to his feet, and shrieked out his syllables, as if in the effort[Pg 350] he were giving up his soul—“Madman! I tell you that she now stands without the door!”
39. "Not hear it?—yes, I hear it, and I have heard it. For a long time—many minutes, many hours, many days—I’ve heard it, but I dared not—oh, pity me, miserable wretch that I am!—I dared not—I dared not speak! We have put her living in the tomb! Didn't I say my senses were sharp? I can now tell you that I heard her first weak movements in the hollow coffin. I heard them many, many days ago—yet I dared not—I dared not speak! And now—to-night—Ethelred—ha! ha!—the breaking of the hermit’s door, and the death cry of the dragon, and the clamor of the shield!—say rather, the ripping of her coffin, and the grinding of the iron hinges of her prison, and her struggles within the coppered archway of the vault! Oh, where shall I flee? Will she not be here soon? Is she not rushing to blame me for my haste? Have I not heard her footsteps on the stairs? Can I not make out that heavy and terrible beating of her heart? Madman!"—here he jumped up angrily and screamed his words, as if, in that effort, he were giving up his soul—"Madman! I tell you that she now stands outside the door!"
40. As if in the superhuman energy of his utterance there had been found the potency of a spell, the huge antique panels to which the speaker pointed threw slowly back, upon the instant, their ponderous and ebony jaws. It was the work of the rushing gust—but then without those doors there did stand the lofty and enshrouded figure of the lady Madeline of Usher! There was blood upon her white robes, and the evidence of some bitter struggle upon every portion of her emaciated frame. For a moment she remained trembling and reeling to and fro upon the threshold—then, with a low moaning cry, fell heavily inward upon the person of her brother, and, in her violent and now final death agonies, bore him to the floor a corpse, and a victim to the terrors he had anticipated.
40. As if the incredible energy of his words had cast a spell, the massive old doors the speaker indicated slowly swung open, revealing their heavy and dark interiors. It was the force of the rushing wind—but there, without those doors, stood the tall and shrouded figure of Lady Madeline of Usher! Blood stained her white robes, and every part of her emaciated body bore the marks of a fierce struggle. For a moment, she stood trembling and swaying on the threshold—then, with a low, moaning cry, she collapsed heavily into her brother's arms, and in her violent and final death throes, brought him down to the floor, a corpse and a victim of the horrors he had feared.
41. From that chamber and from that mansion I fled aghast. The storm was still abroad in all its wrath as I found myself crossing the old causeway. Suddenly there shot along the path a wild light, and I turned to see whence a gleam so unusual could have issued; for the vast house and its shadows were alone behind me. The radiance was that of the full, setting, and blood-red moon, which now shone vividly through that once barely discernible fissure, of which I have before spoken as extending from the roof of the building, in a zigzag direction, to the base. While I gazed, this fissure rapidly widened—there came a fierce breath of the whirlwind—the entire orb of the satellite burst at once upon my sight—my brain reeled as I saw the mighty walls rushing asunder—there was a long, tumultuous shouting sound like the voice of a thousand waters—and the deep and dank tarn at my feet closed sullenly and silently over the fragments of the “House of Usher.”
41. From that room and that house, I ran away in panic. The storm was still raging as I crossed the old causeway. Suddenly, a wild light flashed along the path, and I turned to see where such an unusual glow could come from; the big house and its shadows were the only things behind me. The light was from the full, setting, blood-red moon, which now shone brightly through that once barely visible crack I mentioned before, stretching from the roof of the building in a zigzag to the ground. As I stared, this crack quickly widened—there was a fierce gust from the whirlwind—the entire orb of the moon burst into view—my head spun as I watched the massive walls crumble apart—there was a long, chaotic roar like the sound of a thousand rushing waters—and the deep, dark pond at my feet closed grimly and quietly over the remains of the “House of Usher.”
[Pg 351]
[Pg 351]
SUGGESTIVE QUESTIONS FOR STUDY
1. State as briefly as possible the impression made upon you by the story under consideration.
1. Summarize your impression of the story in a few words.
2. Cite passages which are most effective in making this impression.
2. Point out the parts that are most effective in creating this impression.
3. Do you find any jarring elements which tend to mar the single impression?
3. Do you notice any jarring elements that disrupt the overall impression?
4. Does the story approach any types besides that of the impressionistic?
4. Does the story explore any other styles besides impressionism?
5. Mention any weak points you discover.
5. Point out any weaknesses you find.
6. Write about three hundred words on the merits of the story.
6. Write around three hundred words on the benefits of the story.
7. Try to find an impressionistic story in some present-day magazine.
7. Look for an impressionistic story in a current magazine.
8. Criticise Poe’s language, in general and in particular.
8. Critique Poe’s language, both overall and in specific instances.
9. Would either of these stories be popular if written to-day by an unknown author?
9. Would either of these stories be popular if written today by an unknown author?
10. Would cutting improve either of these stories? If so, say where.
10. Would cutting make either of these stories better? If so, explain where.
11. Compare Hawthorne’s style with that of Poe.
11. Compare Hawthorne's writing style with Poe's.
12. Which story do you prefer, and why?
12. Which story do you like more, and why?
[Pg 352]
[Pg 352]
TEN REPRESENTATIVE IMPRESSIONISTIC STORIES
“The Luck of Roaring Camp,” Bret Harte, in The Luck of Roaring Camp and Other Stories.
“The Luck of Roaring Camp,” Bret Harte, in The Luck of Roaring Camp and Other Stories.
“The Father,” Björnstjerne Björnson, translated in Stories by Foreign Authors, Scandinavian.
“The Father,” Björnstjerne Björnson, translated in Stories by Foreign Authors, Scandinavian.
“A Journey,” Edith Wharton, in The Greater Inclination.
“A Journey,” Edith Wharton, in The Greater Inclination.
“The Brushwood Boy,” Rudyard Kipling, in The Day’s Work.
“The Brushwood Boy,” Rudyard Kipling, in The Day’s Work.
“The Great Stone Face,” Nathaniel Hawthorne, in The Snow-Image and Other Twice-Told Tales.
“The Great Stone Face,” Nathaniel Hawthorne, in The Snow-Image and Other Twice-Told Tales.
“A Passion in the Desert,” Honoré de Balzac, translated in Little French Masterpieces, Balzac.
“A Passion in the Desert,” Honoré de Balzac, translated in Little French Masterpieces, Balzac.
“The Pit and the Pendulum,” Edgar Allan Poe, in Tales.
“The Pit and the Pendulum,” Edgar Allan Poe, in Tales.
“The Silent Woman,” Leopold Kompert, translated in Modern Ghosts.
“The Silent Woman,” Leopold Kompert, translated in Modern Ghosts.
“Jesus Christ in Flanders,” Honoré de Balzac, translated in Little French Masterpieces, Balzac.
“Jesus Christ in Flanders,” Honoré de Balzac, translated in Little French Masterpieces, Balzac.
“Silence,” Leonid Andreyev, translated in Short-Story Masterpieces.
“Silence,” Leonid Andreyev, translated in Short-Story Masterpieces.
[Pg 353]
[Pg 353]
VII
CHARACTER STUDIES
The Piece of String.—Guy de Maupassant
The Piece of String.—Guy de Maupassant
The Substitute.—François Coppée
The Substitute.—François Coppée
[Pg 354]
[Pg 354]
Most of us, in actual life, are accustomed to distinguish people who are worth our while from people who are not; and those of us who live advisedly are accustomed to shield ourselves from people who cannot, by the mere fact of what they are, repay us for the expenditure of time and energy we should have to make to know them. And whenever a friend of ours asks us deliberately to meet another friend of his, we take it for granted that our friend has reasons for believing that the acquaintanceship will be of benefit or of interest to both. Now the novelist stands in the position of a friend who asks us to meet certain people whom he knows; and he runs the risk of our losing faith in his judgment unless we find his people worth our while.... He ... owes us an assurance that they shall be even more worth while than the average actual person.—Clayton Hamilton, Materials and Methods of Fiction.
Most of us, in real life, know how to differentiate between people who are worth our time and those who aren't. Those of us who think carefully tend to protect ourselves from people who simply can't give us anything in return for the time and energy we would have to invest to get to know them. So, when a friend asks us to meet another friend of theirs, we assume that our friend believes that this introduction will be beneficial or interesting for both of us. In this way, the novelist is like a friend who invites us to meet certain characters he knows; he risks us doubting his judgment unless we find these characters to be worth our attention. He... needs to assure us that they will be even more worthwhile than the average person. —Clayton Hamilton, Materials and Methods of Fiction.
[Pg 355]
[Pg 355]
CHARACTER STUDIES
A character-study, whether in the form of a sketch, a tale, or a short-story, attempts to reveal individual human nature by the unfolding of the story.
A character study, whether as a sketch, a tale, or a short story, aims to uncover individual human nature through the development of the story.
In the sketch it will be a photograph of character in a striking mood, under stress of emotion, or just before, or during, or after a crisis that is peculiarly suited to showing either the full character or one of its interesting phases. Some photographs consist of bold masses of light and shade, others are so handled as to bring out a multitude of details. The sketch allows in a literary way the same methods of treatment, but the typical sketch avoids unnecessary minutiæ.
In the sketch, there will be a photo capturing a character in a powerful emotional state, just before, during, or after a crisis that is particularly effective for revealing either the character's essence or one of its intriguing aspects. Some photos have strong contrasts of light and shadow, while others are designed to highlight a variety of details. The sketch allows for similar techniques in a literary sense, but a typical sketch avoids unnecessary minutiae.
The tale is also a photograph, but instead of being a single stationary picture, it is a moving-picture, delineating character by a chain of incidents which allow us to see what the characters are by what they do. True to the type of the tale, it does not deal with character crisis, but merely reveals character in a series of illuminating deeds.
The story is also like a photograph, but instead of being a single still image, it's a moving picture that shows character through a series of events that let us understand who the characters are by their actions. Staying true to the nature of the story, it doesn't focus on character crises but simply reveals character through a series of enlightening actions.
In the character short-story the author’s method is more complicated, for the whole mechanism of the story—introduction, plot, dialogue, and conclusion—are designed to show us the characters under stress of emotion and the results of that emotional arousement. We learn the characters of the characters—for there is a distinction here—by seeing how they act upon each other, how they solve problems, how they meet the crises of life—what effect trouble or joy has upon them—and the final outcome of it all. It is like studying a human being while he is being subjected to a test, and observing the development of his character, or its failure to stand the test, in that critical moment.
In a character-driven short story, the author’s approach is more intricate, as every element of the story—introduction, plot, dialogue, and conclusion—is crafted to reveal the characters under emotional pressure and the impact of that emotional intensity. We get to know the characters—there’s a key difference here—by observing how they interact with one another, how they tackle challenges, and how they respond to life’s crises—what effect stress or happiness has on them—and the ultimate outcome of these experiences. It’s akin to studying a person as they undergo a test and watching how their character evolves or fails to hold up in that critical moment.
By this it will be seen that a character-study is a story with a purpose—a purpose deeper than that of affording entertainment from the plot. The finest stories are those which so interest us in the action, or plot, of the story proper that the profound character disclosures and changes are borne in upon us while we are watching the progress of the story. It is this subtle balance of narrative and character-study which presents the story-teller’s art at its best.
By this, it becomes clear that a character study is a story with a purpose—one that goes beyond just entertaining us with the plot. The best stories are those that engage us in the action or plot so deeply that the significant character insights and developments emerge as we follow the story's unfolding. It's this delicate balance of narrative and character study that showcases the storyteller’s craft at its finest.
[Pg 356]
[Pg 356]
THE PIECE OF STRING
(LA FICELLE)
(LA FICELLE)
BY GUY DE MAUPASSANT
BY GUY DE MAUPASSANT
Translation by The Editor
Translation by The Editor
Establishes the general setting, and station in life of the characters.
On all the roads around Goderville the peasants and their wives were coming towards the town, for it was market-day. The men swung along at an easy gait, their whole bodies swaying forward with every [Pg 357] movement of their long, twisted legs—legs misshapen by hard work: by holding down the plough, which Minute observation. throws up the left shoulder while it deforms the figure; by mowing grain, the effort of which spreads the knees too wide apart to permit them to stand quite steady; by all the tedious and laborious tasks of the fields. Their blue blouses, starched and glossy as though varnished, and decorated at collar and cuffs with neat designs in white stitching, puffed out about their bony forms just like balloons all ready to rise, from which protruded a head, two arms, and two legs.
On all the roads around Goderville, the farmers and their wives were heading toward the town because it was market day. The men walked at a relaxed pace, their bodies swaying forward with each movement of their long, twisted legs—legs shaped by hard work: by holding the plow, which raises the left shoulder and changes the shape of the body; by mowing grain, the effort of which forces their knees apart, making it hard for them to stand steady; by all the tiring and labor-intensive tasks in the fields. Their blue blouses, starched and shiny as if polished, and decorated at the collar and cuffs with neat white stitching, puffed out around their bony figures like balloons ready to lift off, from which poked out a head, two arms, and two legs.
2. Some of the men were leading a cow or a calf at the end of a rope. Following close behind, the wives switched the animals over the back with branches still covered with leaves, in order to quicken their pace. The women carried on their arms great baskets from which the heads of chickens and ducks protruded,Local-color by character description. and they walked with a shorter, quicker step than the men—each withered figure erect and wrapped in a scanty little shawl pinned across her flat bosom, each head done up in a white cloth, bound close about the hair and surmounted by a cap.
2. Some of the men were leading a cow or a calf on a rope. Close behind them, the wives urged the animals forward by waving branches still full of leaves to speed them up. The women carried large baskets on their arms, from which the heads of chickens and ducks were sticking out, and they walked with a shorter, quicker stride than the men—each frail figure upright and wrapped in a light shawl pinned across her flat chest, each head wrapped in a white cloth tied securely around the hair and topped with a cap.
3. Now a wagonette passed, drawn by a nag at a fitful trot, grotesquely shaking up the two men seated side by side, and the woman in the back[Pg 358] of the vehicle, who clutched its sides to lessen the rough jolting.
3. A wagonette went by, pulled by a horse at a shaky trot, jolting the two men sitting side by side and the woman in the back of the vehicle, who held onto the sides to brace against the bumpy ride.[Pg 358]
4. In the Goderville market-place there was a great crowd—a medley of man and beast. The horns of the cattle, the high, long-napped hats of the prosperous peasants, and the head-dresses of the women, rose above the level of the throng. And the voices—sharp, shrill, squawking—rose in a wild, incessant clamor, which was dominated now and then by a great guffaw of laughter emitted from the robust chest of some sturdy bumpkin, or by the long-drawn-out lowing of a cow tethered to the wall of a house.
4. In the Goderville market square, there was a huge crowd—a mix of people and animals. The horns of the cattle, the tall, stylish hats of the successful farmers, and the women’s headpieces rose above the level of the crowd. The voices—sharp, loud, and squawking—created a wild, nonstop noise, occasionally interrupted by a big laugh from some strong guy or the long, deep mooing of a cow tied to the wall of a house.
5. Everything there smelled of the stable—the milk, the manure, the hay, the sweat, gave forth that acrid, offensive odor of man and animal so peculiar to dwellers of the fields.
5. Everything there smelled like a stable—the milk, the manure, the hay, the sweat—giving off that sharp, unpleasant odor of people and animals that's so familiar to those who live in the countryside.
6. Master Hauchecorne, of Bréauté, had just arrived at Goderville, and was moving toward the square, when he observed a little piece of string on the ground. Economical, like a true Norman, The Normans are said to be typically “ambitious, positive, bold, tricky, economical.” Master Hauchecorne thought that everything which could be used was worth saving; so he stooped down painfully, for he suffered from rheumatism, picked up from the dirt the insignificant scrap of twine, and was just about to roll it Foundation Plot Incident. up with care when he noticed Master Malandin, the harness-maker, standing on his doorstep looking at him. Chief Complication.Once the two men had had[Pg 359] a difference over the matter of a halter, and ever since they had remained angry with each other, cherishing their spite. Master Hauchecorne was seized with a sort of shame at having his enemy thus see him searching in the mud for a mere scrap of string. He therefore hastily Resultant Complication. hid away his find in his blouse, and then in his breeches-pocket. At the same time he pretended to be still searching in the dirt for something which he had not been able to find. Finally he moved on toward the market-place, his head thrust forward, his body bent double by his pains.
6. Master Hauchecorne from Bréauté had just arrived in Goderville and was walking towards the square when he noticed a small piece of string on the ground. Frugal, like a true Norman, The Normans are often described as "ambitious, optimistic, daring, clever, and thrifty." Master Hauchecorne believed that anything useful was worth saving, so he painfully bent down, suffering from rheumatism, picked up the insignificant piece of twine from the dirt, and was about to carefully roll it Foundation Plot Event. up when he saw Master Malandin, the harness-maker, watching him from his doorstep. Main Issue. The two men had previously had a disagreement over a halter, and since then, they had remained angry with each other, holding onto their resentment. Master Hauchecorne felt a kind of shame at having his rival see him searching in the mud for a mere scrap of string. He quickly hid his find in his blouse and then in his pants pocket. At the same time, he pretended to still be looking in the dirt for something he couldn’t find. Finally, he continued on to the market-place, his head pushed forward and his body hunched over with pain.
7. In a moment he was lost in the slowly shifting, noisy throng, agitated by its own constant chafferings. The peasants felt of the cows, turned away, came back again, much puzzled—always fearful of being over-reached in the bargain, never reaching a decision, watching the eye of the vendor, See note on ¶6. seeking ever to unmask the ruse of the man and the defect in his animal.
7. In a moment, he was caught up in the slowly moving, noisy crowd, stirred up by its own constant chatter. The farmers examined the cows, walked away, then returned, confused—always worried about getting cheated in the deal, never able to decide, keeping an eye on the seller, See note on __A_TAG_PLACEHOLDER_0__. always trying to uncover the trick of the man and the flaws in his animal.
8. The women, having set their huge baskets at their feet, took out their poultry, which they laid on the ground with legs tied together, terror-stricken eyes, and scarlet combs.
8. The women, having placed their large baskets at their feet, took out their chickens, which they laid on the ground with their legs tied together, terrified eyes, and bright red combs.
9. They listened to offers, maintaining their price with a keen air but impassive face, or else suddenly deciding to take the counter offer,[Pg 360] crying out to the slowly retreating customer:
9. They listened to offers, keeping their price firm with sharp expressions but blank faces, or suddenly deciding to accept the counteroffer,[Pg 360] calling out to the slowly retreating customer:
10. “It’s settled, Master Anthime, I’ll give them to you!”
10. “It's decided, Master Anthime, I'll give them to you!”
11. At length, little by little, the square became empty, and when the Angelus sounded noon, those who lived too far away to go home repaired to the inns.
11. Eventually, bit by bit, the square became empty, and when the Angelus rang at noon, those who lived too far away to head home went to the inns.
12. At Jourdain’s, the large hall was crowded with diners, while the great courtyard was full of vehicles of every sort—carts, gigs, wagonettes, tilburies, traps, nameless carriages, yellow with mud, shapeless, patched, shafts pointing to heaven like two arms, or with noses in the ground and backs in the air.
12. At Jourdain’s, the large hall was packed with diners, while the big courtyard was filled with all kinds of vehicles—carts, gigs, wagonettes, tilburies, traps, and all sorts of cars, covered in mud, misshapen, patched up, with shafts pointing up like two arms, or with their noses in the dirt and backs in the air.
13. Right opposite the diners at table, the immense fireplace, all brightly aflame, cast a lively warmth on the backs of those ranged along the right. Three spits were turning, laden with chickens, pigeons, and legs of mutton; and a delectable odor of roasting meat, and of juices streaming over the browned skin, rose from the hearth, kindled good humor and made everyone’s mouth water.
13. Right across from the diners at the table, the massive fireplace, glowing with bright flames, radiated a cozy warmth on the backs of those sitting on the right. Three spits were rotating, loaded with chickens, pigeons, and legs of mutton; a delicious smell of roasting meat and juices dripping over the crispy skin filled the air, sparking good cheer and making everyone's mouths water.
14. All the aristocracy of the plough were eating there, at Maît’ Jourdain’s,Maît’—colloquial abbreviation for Maître, equal here to “Mine Host.” inn-keeper and horse-trader—a sly fellow who had made money.
14. All the farming aristocracy were eating there, at Maît’ Jourdain’s,Maît’—a casual short form for Maître, meaning “Mine Host” in this context. the innkeeper and horse trader—a clever guy who had made a fortune.
15. The dishes went round, and, like the jugs of yellow cider, were emptied. Everyone told of his affairs: his sales and his purchases.[Pg 361] They exchanged news of the crops—the weather was good for vegetables, but a trifle wet for wheat.
15. The dishes went around and, like the jugs of yellow cider, were emptied. Everyone talked about their business: their sales and purchases. [Pg 361] They shared updates about the crops—the weather was good for vegetables but a little too wet for wheat.
16. Suddenly the roll of a drum sounded in the courtyard before the house. Instantly everyone was on his feet,Typical of their class. save a few indifferent ones, and ran to the door or to the windows, with mouth still full and napkin in hand.
16. Suddenly, the sound of a drum echoed in the courtyard in front of the house. Immediately, everyone jumped to their feet,Typical of their type. except for a few who didn’t care, and rushed to the door or the windows, with their mouths still full and napkins in hand.
17. After the public crier had ended his tattoo, he shouted out in a jerky voice, making his pauses at the wrong time:
17. After the town crier finished his announcement, he shouted in a choppy voice, pausing at awkward moments:
18. “Be it known to the people of Goderville, and in general to all—persons present at the market, that there was lost this morning, upon the Beuzeville road between—nine and ten o’clock, a black leather pocketbook, containing five hundred francs and some business papers. You are requested to return it—to the mayor’s office, without delay, or to Master Fortuné Houlbrèque of Manneville. There will be twenty francs reward.”
18. “Attention, people of Goderville, and everyone else at the market: This morning, between nine and ten o’clock, a black leather wallet was lost on the Beuzeville road. It contains five hundred francs and some business documents. Please return it to the mayor’s office right away or to Master Fortuné Houlbrèque of Manneville. A reward of twenty francs will be given.”
19. Then the man went away. Once again was heard afar the muffled roll of the drum and the faint voice of the crier.
19. Then the man left. Once again, the distant sound of the drum echoed softly, along with the faint voice of the crier.
20. Then they began to talk over the incident, estimating the chances Master Houlbrèque had of recovering or of not recovering his pocketbook. Meanwhile the meal went on.
20. Then they started discussing the incident, weighing Master Houlbrèque's chances of getting his wallet back or not. Meanwhile, the meal continued.
21. They were finishing coffee when the corporal of gendarmes appeared in the doorway.
21. They were finishing their coffee when the cop showed up in the doorway.
[Pg 362]
[Pg 362]
22. He asked:
He inquired:
23. “Master Hauchecorne of Bréauté—is he here?”
23. “Is Master Hauchecorne from Bréauté here?”
24. Master Hauchecorne, who was seated at the other end of the table, replied:
24. Master Hauchecorne, who was sitting at the other end of the table, replied:
25. “That’s me.”
"That's me."
26. And the corporal replied:
26. And the corporal responded:
27. “Master Hauchecorne, will you have the goodness to go with me to the mayor’s office. Monsieur le maire would like to speak with you.”
27. “Master Hauchecorne, could you please come with me to the mayor’s office? Monsieur le maire wants to talk to you.”
Minute observation.
28. The peasant—surprised, disturbed—drained his glass at a gulp, got up, and, more doubled up than in the morning, because the first steps after a rest were always particularly difficult, he started off, repeating:
28. The peasant—shocked and unsettled—downed his drink in one go, stood up, and, more hunched over than in the morning because the first steps after a break were always especially tough, he set off, murmuring:
29. “That’s me, that’s me,” and he followed the corporal.
29. “That’s me, that’s me,” and he followed the corporal.
30. The mayor was awaiting him, seated in an armchair. He was the notary of the place, a large man, grave, and pompous in speech.
30. The mayor was waiting for him, sitting in an armchair. He was the local notary, a big man, serious, and grandiloquent in his speech.
31. “Master Hauchecorne,” said he, “you were seen to pick up this morning, on the Beuzeville road, the pocketbook lost by Master Houlbrèque, of Manneville.”
31. “Master Hauchecorne,” he said, “you were seen picking up the wallet that Master Houlbrèque from Manneville lost this morning on the Beuzeville road.”
32. The countryman, speechless, stared at the mayor, already terrified by this suspicion which rested upon him without his understanding why.
32. The countryman, at a loss for words, stared at the mayor, already scared by this suspicion hanging over him without knowing why.
33. “Me, me, I picked up that pocketbook?”
33. “Me, me, I picked up that wallet?”
34. “Yes, exactly you.”
"Yes, that's you."
[Pg 363]
[Pg 363]
35. “Word of honor, I ain’t even so much as seen it.”
35. “I swear, I haven’t even seen it.”
36. “You were seen.”
“You were spotted.”
37. “They saw me, me? Who’s it 'as seen me?”
37. “They saw me, me? Who's seen me?”
38. “Monsieur Malandin, the harness-maker.”
“Monsieur Malandin, the saddlemaker.”
39. Then the old man remembered, and understood. Reddening with rage, he cried:
39. Then the old man remembered and realized. Turning red with anger, he shouted:
40. “Ah! he saw me, that cad! He saw me pick up this here string—look, m’sieu le maire.”
40. “Ah! he saw me, that jerk! He saw me pick up this string—look, m’sieu le maire.”
41. And, fumbling at the bottom of his pocket, he pulled out the little bit of cord.
41. And, digging around in the bottom of his pocket, he pulled out the small piece of cord.
42. But the mayor, incredulous, shook his head.
42. But the mayor, unable to believe it, shook his head.
43. “You will not make me believe, Master Hauchecorne, that Monsieur Malandin, who is a man worthy of belief, has mistaken that bit of string for a pocketbook.”
43. “You’re not going to convince me, Master Hauchecorne, that Monsieur Malandin, who is a trustworthy man, has confused that piece of string for a wallet.”
44. The peasant, furious, raised his hand and spat to one side, thus to attest his honor, repeating:
44. The peasant, furious, raised his hand and spat to the side, showing his honor, repeating:
45. “All the same it’s the truth of the good God, the holy truth, m’sieu le maire. There! Upon my soul and my salvation, I say it again.”
45. “Still, it's the truth of the good God, the holy truth, m'sieu le maire. There! On my soul and my salvation, I say it again.”
46. The mayor replied:
The mayor responded:
47. “After having picked the thing up, you even hunted a long time in the mud to see if some piece of money had not fallen out.”
47. “After picking it up, you even searched the mud for a long time to see if any money had fallen out.”
48. The good man choked with indignation and fear.
48. The good man struggled to hold back his anger and fear.
49. “How can anyone tell—how can anyone tell—lies like that to[Pg 364] misrepresent an honest man! How can anyone tell—”
49. “How can anyone say—how can anyone say—lies like that to[Pg 364] misrepresent an honest person! How can anyone say—”
50. However he might protest, no one believed him.
50. No matter how much he protested, no one believed him.
51. He was confronted with Monsieur Malandin, who repeated and sustained his affirmation. They railed at each other for a whole hour. At his own request, Master Hauchecorne was searched. They found nothing upon him.
51. He faced Monsieur Malandin, who repeated and stood by his claim. They shouted at each other for an entire hour. At his own request, Master Hauchecorne was searched. They found nothing on him.
52. At last, the mayor, greatly perplexed, sent him away, with the warning that he would advise the public prosecutor, and ask for orders.
52. Finally, the mayor, clearly confused, dismissed him with a warning that he would inform the public prosecutor and seek instructions.
53. The news had spread. When he came out of the mayor’s office the old man was surrounded and questioned with a curiosity either serious or bantering, but into which not the least indignation entered. And he began to recount the history of the piece of string. No one believed him. They laughed.
53. The news had spread. When he walked out of the mayor’s office, the old man was surrounded and questioned with a curiosity that was either serious or teasing, but there was no hint of anger. He started to tell the story of the piece of string. No one believed him. They laughed.
54. He went on, halted by everyone, stopping his acquaintances, renewing endlessly his recital and his protestations, showing his pockets turned inside out to prove that he had nothing.
54. He continued, interrupted by everyone, stopping his friends, endlessly repeating his speech and his claims, showing his pockets turned inside out to prove that he had nothing.
55. They said to him:
They told him:
56. “G’long, you old rascal!”
“Get going, you old rascal!”
57. And he grew angry, working himself into exasperation, into a fever, desperate at not being believed, not knowing what to do, and always repeating his story.
57. And he got angry, working himself up into frustration, into a rage, desperate at not being believed, not knowing what to do, and constantly repeating his story.
58. Night came on. He must go home. He started out with three[Pg 365] neighbors to whom he showed the place where he had picked up the piece of string; and all along the road he kept talking of his adventure.
58. Night fell. He had to go home. He set off with three neighbors to show them where he had found the piece of string, and along the way, he kept sharing stories about his adventure.
59. That evening, he made a round of the village of Bréauté, in order to tell everyone of the matter. He encountered none but unbelievers.
59. That evening, he went around the village of Bréauté to inform everyone about the situation. He found nothing but skeptics.
60. He was ill of it all night.
60. He felt sick about it all night.
61. The next day, about one o’clock in the afternoon, Marius Paumelle, a farm-hand of Master Breton’s, the market-gardener at Ymauville, returned the pocketbook and its contents to Master Houlbrèque, of Manneville.
61. The next day, around one in the afternoon, Marius Paumelle, a farmhand for Master Breton, the market gardener in Ymauville, returned the wallet and its contents to Master Houlbrèque, from Manneville.
62. This man asserted, in substance, that he had found the article on the road; but, not being able to read, he had carried it home and given it to his employer.
62. This man claimed, basically, that he had found the item on the road; however, since he couldn't read, he took it home and gave it to his boss.
63. The news spread to the suburbs. Master Hauchecorne was informed of it. He set himself at once to journeying about and commenced to narrate his story as completed by the denouement. He was triumphant.
63. The news spread to the suburbs. Master Hauchecorne heard about it. He immediately started traveling around and began telling his story with the ending. He was victorious.
64. “Wha’ made me feel bad,” he said, “wasn’t the thing itself, you understand, but it was the lies. There’s nothing hurts you like being blamed for a lie.”
64. “What made me feel bad,” he said, “wasn’t the thing itself, you know, but the lies. There’s nothing that hurts you like being blamed for a lie.”
65. All day long he talked of his adventure, he recounted it on the roadways to the people who passed, at the tavern to the folks who drank, at the dismissal of church on the following Sunday. Foundation for Climax. He even button-holed strangers to tell it to them.
65. All day long he talked about his adventure, sharing it on the streets with anyone who walked by, at the bar with the people who were drinking, and after church the next Sunday. Base for Climax. He even stopped random strangers to tell them about it.
[Pg 366]
[Pg 366]
Now, he was tranquil, and yet something else bothered him without his being able to tell precisely what. People did not seem to be convinced. He felt as if they gossiped behind his back.
Now, he was calm, but something else was bothering him, and he couldn't pinpoint exactly what it was. People didn’t seem convinced. He felt like they were gossiping behind his back.
66. On Tuesday of the following week, he went to the Goderville market, solely impelled by the desire to relate his story. Malandin, standing in his doorway, began to laugh when he saw him pass. Why?
66. On Tuesday of the next week, he went to the Goderville market, driven by the need to share his story. Malandin, standing in his doorway, started laughing when he saw him walk by. Why?
67. He accosted a farmer of Criquetot who would not let him finish, but giving him a dig in the pit of the stomach, cried out in his face, “G’long, you great rogue!” Then he turned on his heel.
67. He confronted a farmer from Criquetot who wouldn't let him finish, and after landing a punch to his stomach, shouted, “Get lost, you big crook!” Then he turned on his heel.
68. Master Hauchecorne stood speechless, growing more and more disturbed. Why had he called him “great rogue”?
68. Master Hauchecorne stood there, speechless and increasingly upset. Why had he called him a “great rogue”?
69. When seated at table at Jourdain’s tavern, he again began to explain the affair.
69. While sitting at the table in Jourdain’s tavern, he started to explain the situation again.
70. A Montivilliers horse-dealer called out to him:
70. A horse dealer from Montivilliers shouted to him:
71. “Go on, go on, you old trickster, I know you, and your piece of string!”
71. “Come on, come on, you old trickster, I know you and your piece of string!”
72. Hauchecorne stammered, “But—they—found it, the pocketbook!”
72. Hauchecorne stuttered, “But—they—found the wallet!”
73. But the other retorted:
73. But the other replied:
Final Issue.
74. “Be quiet, daddy! There’s one who finds it, and one who takes it back. No one sees it, no one recognizes it, no one is the wiser for it.”
74. “Shh, Dad! There’s someone who finds it, and someone who takes it away. No one notices it, no one acknowledges it, no one is any the wiser for it.”
75. The peasant sat dumbfounded. He understood at last. They accused[Pg 367] him of having returned the pocketbook by a confederate, an accomplice.
75. The peasant sat in shock. He finally understood. They were accusing[Pg 367] him of returning the pocketbook through an associate, a partner in crime.
76. He tried to protest. Everyone at the table began to laugh.
76. He tried to object. Everyone at the table started to laugh.
77. He could not finish his dinner, and left amidst their mockeries.
77. He couldn't finish his dinner and walked out while they mocked him.
78. He returned home, ashamed and indignant, strangled by his anger, by his confusion, and all the more thunderstruck because, with his Norman cunning, he was quite capable of having done the thing of which they had accused him, and even of boasting of it as a good trick.Key. It appeared to him confusedly as impossible to prove his innocence, for his trickery was well known. And he felt struck to the heart with the injustice of the suspicion.
78. He went home, feeling ashamed and angry, overwhelmed by his rage and confusion. He was even more shocked because, with his Norman slyness, he could have easily done what they accused him of, and might have even bragged about it as a clever move. Key. It seemed to him, in a muddled way, that it was impossible to prove his innocence since his trickery was well-known. And he felt deeply hurt by the unfairness of the suspicion.
79. Again he began to tell of his adventure, every day lengthening his recital, advancing each time new proofs, more energetic protestations, and more solemn oaths which he conjured up in his hours of solitude—his mind was occupied solely by the story of the piece of string.Key. They believed him all the less as his defense became more complicated and his reasoning more fine-spun.
79. Once again, he started sharing his adventure, extending his story every day, presenting new evidence, more passionate denials, and more serious oaths that he came up with during his solitary hours—his mind was completely focused on the tale of the piece of string.Key. They believed him even less as his defense grew more complicated and his reasoning became more elaborate.
80. “Ha, they are liar’s reasons!” they said behind his back.
80. “Ha, they’re just excuses from liars!” they said behind his back.
81. He realized it; he fretted over it; he exhausted himself in futile efforts.
81. He understood it; he worried about it; he wore himself out with worthless attempts.
82. He visibly wasted away.
He visibly deteriorated.
83. The wags now made him recite “The Piece of String” for their amusement, as one persuades a soldier who has been through a campaign, to tell the story of his battles. His mind, attacked at its foundations, began to totter.
83. The jokers now got him to recite “The Piece of String” for their entertainment, like convincing a soldier who's been through a campaign to share stories about his battles. His mind, shaken at its core, started to waver.
84. Towards the end of December he took to his bed.
84. Towards the end of December, he went to bed.
85. During the first days of January he died, and, in the delirium of his mortal agony he protested his innocence, repeating:
85. In the first days of January, he died, and in the fever of his dying moments, he claimed he was innocent, repeating:
86. “—a li’l’ piece of string ... a li’l’ piece of string ... see, here it is, m’sieu le maire.”
86. “—a little piece of string ... a little piece of string ... look, here it is, mister mayor.”
[Pg 368]
[Pg 368]
COPPÉE AND HIS WRITINGS
François Edouard Joachim Coppée was born in Paris, January 12, 1842. He was educated at the Lycée St. Louis, and early attracted attention by his poetic gifts. He held office as Librarian of the Senate, and also Guardian of the Archives at the Comédie Française. The honors of membership in the French Academy and that of being decorated with the Cross of the Legion of Honor were given him in 1883 and 1888 respectively. He died May 23, 1908.
François Edouard Joachim Coppée was born in Paris on January 12, 1842. He was educated at the Lycée St. Louis and quickly gained recognition for his poetry. He served as the Librarian of the Senate and also as the Guardian of the Archives at the Comédie Française. He was honored with membership in the French Academy in 1883 and received the Cross of the Legion of Honor in 1888. He passed away on May 23, 1908.
François Coppée was a poet, dramatist, and short-story writer. The collection Poèmes Modernes, published at the age of twenty-seven, contains some remarkable work which well represents his talent. The plays Madame de Maintenon and Le Luthier de Crémone rank with his best dramatic work. Among his short-story gems are “The Sabots of Little Wolff,” “At Table,” “Two[Pg 369] Clowns,” “The Captain’s Vices,” “My Friend Meurtrier,” “An Accident,” and “The Substitute.”
François Coppée was a poet, playwright, and short story writer. His collection Poèmes Modernes, released when he was twenty-seven, showcases some outstanding work that truly reflects his talent. The plays Madame de Maintenon and Le Luthier de Crémone are among his finest dramatic pieces. Some of his short story highlights include “The Sabots of Little Wolff,” “At Table,” “Two Clowns,” “The Captain’s Vices,” “My Friend Meurtrier,” “An Accident,” and “The Substitute.”
As a novelist, Coppée left no permanent mark upon his times, for in this field he was far surpassed by his contemporaries; but as a writer of little prose fictions, he stands well forward among that brilliant group which includes those immortals of the short-story—Maupassant, Daudet, and Mérimée. From the work of these masters, Coppée’s is well distinguished. The Norman Maupassant drew his lines with a sharper pencil, and, by the same token, an infinitely harder one; Daudet, child of Provence though he was, dipped his stylus more often in the acid of satire; and the Parisian Mérimée, though nearer than any other to Coppée in his manner of work, was less in sympathy with his own characters than the warmer-hearted author of “The Sabots of Little Wolff” and “The Substitute”—which follows in a translation by the author of this volume. Coppée was almost an idealist—certainly he was quick to respond to the call of the ideal in his themes. Amidst so much that is sordid and gross in French fiction, how refreshing it is to read a master who could be truthful without wallowing, moral without sermonizing, compassionate without sniveling, humorous without buffooning, and always disclose in his stories the spirit of a sympathetic lover of mankind. Like Dickens, he chose the lowly for his characters, and like Dickens, he found poetry in their simple lives.
As a novelist, Coppée didn’t leave a lasting impact on his time, as he was greatly outshined by his contemporaries; however, as a writer of short prose pieces, he stands out among the brilliant group that includes the greats of the short story—Maupassant, Daudet, and Mérimée. Coppée’s work is distinct from these masters. The Norman Maupassant sketched his narratives with a sharper and much harsher touch; Daudet, though he was from Provence, infused his writing with more biting satire; and the Parisian Mérimée, although closer to Coppée in style, showed less empathy for his characters than the more warm-hearted author of “The Sabots of Little Wolff” and “The Substitute”—which follows in a translation by the author of this volume. Coppée was nearly an idealist—he definitely responded enthusiastically to themes of the ideal. Amidst so much that is grim and unpleasant in French fiction, how refreshing it is to read a master who could be honest without being sordid, moral without preaching, compassionate without being sentimental, humorous without being a clown, and always reveal the spirit of a genuinely caring friend to humanity in his stories. Like Dickens, he chose the humble for his characters, and like Dickens, he found beauty in their simple lives.
[Pg 370]
[Pg 370]
In common with other modern French writers, with Daudet, Maupassant, and others, Coppée excels in the writing of tales. His prose is remarkable for the same qualities that appear in his poetical works: sympathy, tenderness, marked predilection for the weak, the humble, and especially a masterly treatment of subjects essentially Parisian and modern.—Robert Sanderson, François Coppée, in Warner’s Library of the World’s Best Literature.
In line with other contemporary French writers like Daudet, Maupassant, and others, Coppée is outstanding in storytelling. His prose stands out for the same qualities found in his poetry: compassion, gentleness, a strong preference for the vulnerable and humble, and especially a skillful handling of themes that are distinctly Parisian and modern.—Robert Sanderson, François Coppée, in Warner's Library of the World’s Best Literature.
Compassion is the chief quality of this little masterpiece,—compassion and understanding of a primitive type of character. The author shows us the good in a character not altogether bad; and he almost makes us feel that the final sacrifice was justifiable. He succeeds in doing this chiefly because he shows us the other characters only as they appeared to Jean François, thus focusing the interest of the reader on this single character.—Brander Matthews, The Short-story.
Compassion is the main quality of this little masterpiece—compassion and a basic understanding of a primitive type of character. The author reveals the good in a character who isn't entirely bad; and he nearly makes us feel that the final sacrifice was justifiable. He achieves this mainly by showing us the other characters only as Jean François sees them, thereby focusing the reader's interest on this one character.—Brander Matthews, The Short-story.
More than Daudet, Coppée deserves the title of the French Dickens. A fellow member of the French Academy, José de Heredia, calls him “the poet of the humble, painting with sincere emotion his profound sympathy for the sorrows, the miseries, and the sacrifices of the meek.” As an artist in fiction, says Heredia, “Coppée possesses preëminently the gift of presenting concrete fact rather than abstraction,” and a “great grasp of character,” enabling him “to show us the human heart and intellect in full play and activity”—both of which endowments were the supreme characteristics of the author of Nicholas Nickleby and David Copperfield.—Merion M. Miller, Introduction to The Guilty Man.
More than Daudet, Coppée deserves to be called the French Dickens. A fellow member of the French Academy, José de Heredia, describes him as “the poet of the humble, expressing with genuine emotion his deep sympathy for the sorrows, struggles, and sacrifices of the meek.” As a writer of fiction, Heredia states, “Coppée notably has the ability to present concrete facts rather than abstractions,” and he has a “strong grasp of character,” which allows him “to show us the human heart and mind actively at work”—both of which qualities were defining features of the author of Nicholas Nickleby and David Copperfield.—Merion M. Miller, Introduction to The Guilty Man.
Contrast the touching pathos of the “Substitute,” poignant in his magnificent self-sacrifice, by which the man who has conquered his shameful past goes back willingly to the horrible life he has fled from, that he may save from a like degradation and from an inevitable moral decay the one friend he has in the world, all unworthy as this friend is—contrast this with the story of the gigantic deeds “My Friend Meurtrier” boasts about unceasingly, not knowing that he has been discovered in his little round of daily domestic duties—making the coffee of his good old mother, and taking her poodle out for a walk.... No doubt M. Coppée’s contes [stories] have not the sharpness of Maupassant’s nor the brilliancy of M. Daudet’s. But what of it? They have qualities of their own. They have sympathy, poetry, and a power of suggesting pictures not exceeded, I think, by those of either Maupassant or M. Daudet. M. Coppée’s street views in Paris, his interiors, his impressionist sketches of life under the shadow of Notre Dame, are convincingly successful.—Brander Matthews, Aspects of Fiction.
Contrast the touching emotions of the “Substitute,” powerful in his remarkable self-sacrifice, where the man who has conquered his shameful past willingly returns to the terrible life he escaped from to save the one friend he has in the world, despite how unworthy this friend may be—contrast this with the story of the huge achievements “My Friend Meurtrier” constantly brags about, unaware that he has been caught up in his mundane daily routines—making coffee for his dear old mother and walking her poodle. No doubt M. Coppée’s contes [stories] don't have the sharpness of Maupassant’s or the brilliance of M. Daudet’s. But so what? They have their own qualities. They have sympathy, poetry, and a power to evoke images that I think is on par with those of Maupassant or M. Daudet. M. Coppée’s street scenes in Paris, his interiors, and his impressionist snapshots of life under the shadow of Notre Dame are impressively effective.—Brander Matthews, Aspects of Fiction.
FURTHER REFERENCES FOR READING ON COPPÉE
FURTHER REFERENCES FOR READING ON COPPÉE
Introduction to Ten Tales by Coppée, Brander Matthews (1890); Books and Play-Books, Brander Matthews (1895); Literary Movement in France during the Nineteenth Century, Georges Pellissier (1897); Hours with Famous Parisians, Stuart Henry (1897).
Introduction to Ten Tales by Coppée, Brander Matthews (1890); Books and Play-Books, Brander Matthews (1895); Literary Movement in France during the Nineteenth Century, Georges Pellissier (1897); Hours with Famous Parisians, Stuart Henry (1897).
[Pg 371]
[Pg 371]
FOR ANALYSIS
FOR ANALYSIS
THE SUBSTITUTE
(LE REMPLAÇANT)
(THE SUBSTITUTE)
BY FRANÇOIS COPPÉE
BY FRANÇOIS COPPÉE
He was scarcely ten years old when he was first arrested as a vagabond.
He was barely ten years old when he was first arrested for being a vagrant.
2. Thus he spoke to the judges:
2. So he said to the judges:
3. I am called Jean François Leturc, and for six months now I’ve been with the man who sings between two lanterns on the Place de la Bastille,[Pg 372] while he scrapes on a string of catgut. I repeat the chorus with him, and then I cry out, ‘Get the collection of new songs, ten centimes, two sous!’ He was always drunk and beat me; that’s why the police found me the other night, in the tumble-down buildings. Before that, I used to be with the man who sells brushes. My mother was a laundress; she called herself Adèle. At one time a gentleman had given her an establishment, on the ground-floor, at Montmartre. She was a good worker and loved me well. She made money because she had the clientele of the café waiters, and those people use lots of linen. Sundays, she would put me to bed early to go to the ball; but week days, she sent me to the Brothers’ school, where I learned to read. Well, at last the sergent-de-ville whose beat was up our street, began always stopping before her window to talk to her—a fine fellow, with the Crimean medal. They got married, and all went wrong. He didn’t take to me, and set mamma against me. Every one boxed my ears; and it was then that, to get away from home, I spent whole days on the Place Clichy, where I got to know the mountebanks. My stepfather lost his place, mamma her customers; she went to the wash-house to support her man. It was there she got consumption—from the steam of the lye. She died at Lariboisière. She was a good woman. [Pg 373] Since that time I’ve lived with the brush-seller and the catgut-scraper. Are you going to put me in prison?”
3. My name is Jean François Leturc, and for the past six months, I've been with the guy who sings between two lanterns at the Place de la Bastille, while he plays a catgut string. I sing the chorus along with him, then shout, ‘Get the collection of new songs, ten centimes, two sous!’ He was always drunk and hit me; that’s why the police found me the other night in the rundown buildings. Before that, I was with the man who sold brushes. My mom was a laundress; she went by Adèle. At one point, a gentleman gave her a place on the ground floor in Montmartre. She was a hard worker and cared for me a lot. She made good money because she had the café waiters as her clients, and those folks go through a lot of linen. On Sundays, she would put me to bed early to go dancing; but on weekdays, she sent me to Brothers' school, where I learned to read. Eventually, the cop whose beat was our street started stopping by her window to chat — a nice guy, with a Crimean medal. They got married, and everything went downhill. He didn’t like me and turned my mom against me. Everyone was slapping me around, and that’s when I started spending whole days at Place Clichy, where I got to know the street performers. My stepdad lost his job, and my mom lost her customers; she went to the laundromat to support him. That’s where she got tuberculosis—from the steam of the lye. She died at Lariboisière. She was a good woman. Since then, I’ve lived with the brush-seller and the guy who plays the catgut. Are you going to throw me in jail?
4. He talked this way openly, cynically, like a man. He was a ragged little rascal, as tall as a boot, with his forehead hidden under a strange mop of yellow hair.
4. He spoke like this openly and cynically, like a man. He was a scrappy little guy, short as a boot, with his forehead covered by a wild mop of yellow hair.
5. Nobody claimed him, so they sent him to the Reform School.
5. No one claimed him, so they sent him to the Reform School.
6. Not very intelligent, lazy, above all maladroit with his hands, he was able to learn there only a poor trade—the reseating of chairs. Yet he was obedient, of a nature passive and taciturn, and he did not seem to have been too profoundly corrupted in that school of vice. But when, having come to his seventeenth year, he was set free again on the streets of Paris, he found there, for his misfortune, his prison comrades, all dreadful rascals, exercising their low callings. Some were trainers of dogs for catching rats in the sewers; some shined shoes on ball nights in the Passage de l’Opéra; some were amateur wrestlers, who let themselves be thrown by the Hercules of the side-shows; some fished from rafts out in the river, in the full sunlight. He tried all these things a little, and a few months after he had left the house of correction he was arrested anew for a petty theft: a pair of old shoes lifted from out an open shop-window. Result: a year of prison at Sainte-Pélagie, where he[Pg 374] served as valet to the political prisoners.
6. Not very bright, lazy, and especially clumsy with his hands, he was only able to learn a basic trade—the reupholstering of chairs. Still, he was obedient, passive, and quiet, and he didn't seem to have been too deeply corrupted in that school of vice. But when he turned seventeen and was released back onto the streets of Paris, he unfortunately found his former prison mates, all terrible troublemakers, pursuing their lowly jobs. Some trained dogs to catch rats in the sewers; some shined shoes on dance nights in the Passage de l'Opéra; some were amateur wrestlers, letting themselves be thrown by the strongmen of the sideshows; some fished from rafts out in the river under the bright sun. He tried a bit of all these things, and a few months after leaving the juvenile facility, he was arrested again for a minor theft: he stole a pair of old shoes from an open shop window. The result: a year in prison at Sainte-Pélagie, where he served as a servant to the political prisoners.
7. He lived, astonished, among this group of prisoners, all very young and negligently clad, who talked in loud voices and carried their heads in such a solemn way. They used to meet in the cell of the eldest of them, a fellow of some thirty years, already locked up for a long time and apparently settled at Sainte-Pélagie: a large cell it was, papered with colored caricatures, and from whose windows one could see all Paris—its roofs, its clock-towers, and its domes, and far off, the distant line of the hills, blue and vague against the sky. There were upon the walls several shelves filled with books, and all the old apparatus of a salle d’armes—broken masks, rusty foils, leather jackets, and gloves that were losing their stuffing. It was there that the “politicians” dined together, adding to the inevitable “soup and beef” some fruit, cheese, and half-pints of wine that Jean François went out to buy in a can—tumultuous repasts, interrupted by violent disputes, Revolutionary songs of 1793. where they sang in chorus at the dessert the Carmagnole and Ça ira. They took on, however, an air of dignity on days when they made place for a newcomer, who was at first gravely treated as “citizen,” but who was the next day Tu—thou—used only in familiar address.tutoyed, and called by his nickname. They used big words there—Corporation, Solidarity, and phrases all quite unintelligible [Pg 375] to Jean François, such as this, for example, which he once heard uttered imperiously by a frightful little hunchback who scribbled on paper all night long:
7. He lived, amazed, among this group of prisoners, all very young and dressed sloppily, who spoke loudly and carried themselves with a serious demeanor. They would gather in the cell of the oldest among them, a man around thirty years old, who had already been locked up for a long time and seemed settled at Sainte-Pélagie: it was a large cell decorated with colorful caricatures, and from its windows, you could see all of Paris—its rooftops, clock towers, and domes, and far off, the distant outline of the hills, blue and hazy against the sky. On the walls were several shelves filled with books, along with all the old gear from a salle d’armes—broken masks, rusty swords, leather jackets, and gloves that were losing their stuffing. This was where the “politicians” had dinner together, adding to the usual “soup and beef” some fruit, cheese, and half-pints of wine that Jean François went out to buy in a can—boisterous meals, interrupted by heated arguments, Revolutionary songs from 1793. where they sang in chorus at dessert the Carmagnole and Ça ira. However, they took on an air of dignity on days when they made room for a newcomer, who was initially treated seriously as “citizen,” but the next day You—used only in familiar address. was addressed informally, and called by his nickname. They used big words there—Corporation, Solidarity, and phrases that were completely unintelligible [Pg 375] to Jean François, such as this, for instance, which he once heard spoken imperiously by a dreadful little hunchback who wrote on paper all night long:
8. “It is settled. The cabinet is to be thus composed: Raymond in the Department of Education, Martial in the Interior, and I in Foreign Affairs.”
8. “It’s decided. The cabinet will be made up like this: Raymond in the Department of Education, Martial in the Interior, and I in Foreign Affairs.”
9. Having served his time, he wandered again about Paris, under the surveillance of the police, in the fashion of beetles that cruel children keep flying at the end of a string. He had become one of those fugitive and timid beings whom the law, with a sort of coquetry, arrests and releases, turn and turn about, a little like those platonic fishermen who, so as not to empty the pond, throw back into the water the fish just out of the net. Without his suspecting that so much honor was done to his wretched personality, he had a special docket in the mysterious archives of Police headquarters.la rue de Jérusalem, his name and surnames were written in a large back-hand on the gray paper of the cover, and the notes and reports, carefully classified, gave him these graded appellations: “the man named Leturc,” “the prisoner Leturc,” and at last “the convicted Leturc.”
9. After serving his time, he roamed around Paris again, under police watch, much like beetles that cruel kids keep flying on a string. He had become one of those fugitive and timid souls whom the law, in a sort of playful manner, arrests and releases, over and over, similar to those idealistic fishermen who, to avoid emptying the pond, throw back into the water the fish they just caught. Without realizing that so much attention was being paid to his miserable existence, he had a special file in the secret archives of Police station.la rue de Jérusalem; his first and last name was written in a large, cursive style on the gray paper of the folder, and the notes and reports, neatly organized, gave him these varying labels: “the man named Leturc,” “the prisoner Leturc,” and finally, “the convicted Leturc.”
10. He stayed two years out of prison, dining à la Californie, sleeping in lodging-houses, and sometimes in lime-kilns, and taking part with his fellows in endless games of pitch-penny[Pg 376] on the boulevards near the city gates. He wore a greasy cap on the back of his head, carpet slippers, and a short white blouse. When he had five sous, he had his hair curled. He danced at Constant’s at Montparnasse; bought for two sous the jack-of-hearts or the ace-of-spades, which were used as return checks, to resell them for four sous at the door of Bobino; opened carriage-doors as occasion offered; led about sorry nags at the horse-market.In drawing lots for military service the higher numbers give exemption, and this he secured by drawing “a good number.” Of all the bad luck—in the conscription he drew a good number. Who knows whether the atmosphere of honor which is breathed in a regiment, whether military discipline, might not have saved him? Caught in a haul of the police-net with the younger vagabonds who used to rob the drunkards asleep in the streets, he denied very energetically having taken part in their expeditions. It was perhaps true. But his antecedents were accepted in lieu of proof, and he was sent up for three years to Poissy. There he had to make rough toys, had himself tattooed on the chest, and learned thieves’ slang and the penal code. A new liberation, a new plunge into the Parisian sewer, but very short this time, for at the end of hardly six weeks he was again compromised in a theft by night, aggravated by violent entry, a doubtful case in which he played an A receiver of stolen goods. obscure rôle, half dupe and half fence. On the whole, his[Pg 377] complicity seemed evident, and he was condemned to five years’ hard labor. His sorrow in this adventure was, chiefly, to be separated from an old dog which he had picked up on a heap of rubbish and cured of the mange. This beast loved him.
10. He spent two years out of prison, dining California style, sleeping in cheap inns, and sometimes in old lime kilns, joining his buddies in endless games of pitch-penny on the boulevards near the city gates. He wore a greasy cap tilted back on his head, carpet slippers, and a short white shirt. When he had five sous, he would get his hair curled. He danced at Constant’s in Montparnasse; bought a jack-of-hearts or an ace-of-spades for two sous, which were used as return tickets, only to sell them for four sous at the entrance of Bobino; opened carriage doors whenever he could; and led around scrappy horses at the horse market. In the lottery for military service, higher numbers mean exemption, and he was lucky to draw "a good number." With all his bad luck—in the draft, he drew a lucky number. Who knows if the sense of honor in a regiment, or the military discipline, might have saved him? Caught in a police sweep among younger street-runner types who robbed drunken people sleeping in the streets, he vigorously denied taking part in their activities. This might have been true. But they accepted his past as proof, and he was sent away for three years to Poissy. There, he had to make rough toys, got himself tattooed on the chest, and learned thieves’ slang as well as the penal code. Following his release, he plunged back into the Parisian underworld, but this time it was brief—after hardly six weeks, he found himself involved in a nighttime theft, made worse by a violent entry, a questionable case where he played a somewhat unclear role, half sucker and half fence. Overall, his involvement seemed obvious, and he was sentenced to five years of hard labor. The biggest sorrow in this ordeal was being separated from an old dog he had found in a pile of trash and helped heal from mange. This dog loved him.
11. Toulon, the ball on his ankle, the work in the harbor, the blows from the staves, the wooden shoes without straw, the soup of black beans dating from Trafalgar, no money for tobacco, and the horrible sleep on the filthy camp-bed of the galley slave, that is what he knew for five torrid summers and five winters blown upon by the The northwest storm-wind from the Mediterranean.Mistral. He came out from there stunned, and was sent under surveillance to Vernon, where he worked for some time on the river; then, an incorrigible vagabond, he broke exile and returned again to Paris.
11. Toulon, the ball on his ankle, the work at the harbor, the hits from the batons, the wooden shoes without straw, the soup of black beans from Trafalgar, no money for tobacco, and the awful sleep on the filthy camp bed of the galley slave—this is what he experienced for five scorching summers and five winters battered by the The northwest storm wind from the Mediterranean.Mistral. He came out of there dazed and was placed under surveillance in Vernon, where he worked for a while on the river; then, a hopeless wanderer, he broke his exile and returned once more to Paris.
12. He had his savings, fifty-six francs—that is to say, time enough to reflect. During his long absence, his old and horrible comrades had been dispersed. He was well hidden, and slept in a loft at an old woman’s, to whom he had represented himself as a sailor weary of the sea, having lost his papers in a recent shipwreck, and who wished to essay another trade. His tanned face, his calloused hands, and a few nautical terms he let fall one time or another, made this story sufficiently probable.
12. He had his savings, fifty-six francs—that is, enough time to think things over. During his long absence, his old and terrible friends had scattered. He was well-hidden and slept in a loft at an old woman’s house, where he had claimed to be a sailor tired of the sea, having lost his papers in a recent shipwreck and wanting to try a different job. His tanned face, calloused hands, and a few nautical terms he casually mentioned from time to time made this story seem believable.
13. One day when he had risked a saunter along the streets, and when[Pg 378] the chance of his walk had brought him to Montmartre, where he had been born, an unexpected memory arrested him before the door of the Brothers’ school in which he had learned to read. Since it was very warm, the door was open, and with a single glance the passing incorrigible could recognize the peaceful schoolroom. Nothing was changed: neither the bright light shining in through the large windows, nor the crucifix over the desk, nor the rows of seats furnished with leaden ink-stands, nor the table of weights and measures, nor the map on which pins stuck in still pointed out the operations of some ancient war. Heedlessly and without reflecting, Jean François read on the blackboard these words of the Gospel, which a well-trained hand had traced as an example of penmanship:
13. One day, as he took a stroll through the streets, he found himself in Montmartre, where he was born. An unexpected memory stopped him in front of the Brothers' school where he learned to read. Since it was very warm, the door was open, and with just a single glance, the passing troublemaker recognized the peaceful classroom. Nothing had changed: neither the bright light streaming in through the large windows, nor the crucifix above the desk, nor the rows of seats with their heavy ink wells, nor the table with weights and measures, nor the map still marked with pins indicating old battles. Without thinking, Jean François read the words from the Gospel written on the blackboard, traced there as a penmanship example by a skilled hand:
Joy shall be in heaven over one sinner that repenteth, more than over ninety and nine just persons which need no repentance.
There will be more joy in heaven over one person who repents than over ninety-nine people who do not need to repent.
14. It was doubtless the hour for recreation, for the Brother professor had left his chair, and, sitting on the edge of a table, he seemed to be telling a story to all the gamins who surrounded him, attentive and raising their eyes. What an innocent and gay countenance was that of the beardless young man, in long black robe, with white necktie, with coarse, ugly shoes, and with badly cut brown hair pushed up at the back. All those pallid faces of children of the[Pg 379] populace which were looking at him seemed less childlike than his, above all when, charmed with a candid, priestly pleasantry he had made, he broke out with a good and frank peal of laughter, which showed his teeth sound and regular—laughter so contagious that all the scholars broke out noisily in their turn. And it was simple and sweet, this group in the joyous sunlight that made their clear eyes and their blonde hair shine.
14. It was definitely time for some fun, as the Brother professor had gotten up from his chair and was sitting on the edge of a table, telling a story to all the kids surrounding him, who were attentive and looking up at him. What an innocent and cheerful face that beardless young man had, dressed in a long black robe, with a white necktie, rough and ugly shoes, and poorly cut brown hair pushed back. All those pale faces of the poor children looking at him seemed less childlike than his, especially when, delighted by a sincere and priestly joke he made, he burst into a warm and genuine laugh, revealing his straight, healthy teeth—his laughter was so infectious that all the students joined in noisily. It was a simple and sweet sight, this group in the joyful sunlight that made their bright eyes and blonde hair shine.
15. Jean François looked at the scene some time in silence, and, for the first time, in that savage nature all instinct and appetite, there awoke a mysterious and tender emotion. His heart, that rude, hardened heart, which neither the cudgel of the galley-master nor the weight of the watchman’s heavy whip falling on his shoulders was able to stir, beat almost to bursting. Before this spectacle, in which he saw again his childhood, his eyes closed sadly, and, restraining a violent gesture, a prey to the torture of regret, he walked away with great strides.
15. Jean François watched the scene in silence for a while, and for the first time, in that wild nature full of instinct and desire, a mysterious and gentle feeling stirred within him. His heart, that tough, hardened heart, which had been unmoved by the blows of the galley-master or the heavy whip of the watchman striking his shoulders, almost burst with emotion. Before this sight, where he saw his childhood once more, his eyes closed sadly, and, holding back a sudden impulse, tormented by regret, he walked away quickly.
16. The words written on the blackboard came back to him.
16. The words on the blackboard came back to him.
17. “If it were not too late, after all!” he murmured. “If I could once more, like the others, eat my toasted bread honestly, sleep out my sleep without nightmare? The police spy would be very clever to recognize me now. My beard, that I shaved off down there, has grown out now thick and strong. One can borrow somewhere[Pg 380] in this big ant-heap, and work is not lacking. Whoever does not go to pieces soon in the hell of the galleys comes out agile and robust; and I have learned how to climb the rope-ladders with loads on my back. Building is going on all around here, and the masons need helpers. Three francs a day,—I have never earned so much. That they should forget me, that is all I ask.”
17. “If only it weren’t too late after all!” he murmured. “If I could once again, like everyone else, eat my toasted bread honestly, sleep peacefully without nightmares? A police spy would be pretty clever to recognize me now. The beard I shaved off back there has grown back thick and strong. You can find a way to borrow something somewhere in this big ant-heap, and there’s no shortage of work. Those who don’t fall apart quickly in the hell of the galleys come out agile and strong; I’ve learned how to climb rope ladders with loads on my back. There’s construction going on all around here, and the masons need helpers. Three francs a day—I’ve never earned that much. All I ask is for them to forget me.”
18. He followed his courageous resolution, he was faithful to it, and three months afterward he was another man. The master for whom he labored cited him as his best workman. After a long day passed on the scaffolding, in the full sun, in the dust, constantly bending and straightening his back to take the stones from the hands of the man below him and to pass them to the man above him, he went to get his soup, at the cheap eating house, tired out, his legs numb, his hands burning, and his eyelashes stuck together by the plaster, but content with himself, and carrying his well-earned money in the knot of his handkerchief. He went out without fear, for his white mask made him unrecognizable, and, then, he had observed that the suspicious glance of the policeman seldom falls on the real worker. He was silent and sober. He slept the sound sleep of honest fatigue. He was free.
18. He stuck to his brave decision, remained committed to it, and three months later he was a different person. The boss he worked for called him his best worker. After a long day on the scaffolding, under the hot sun and in the dust, constantly bending and straightening his back to take the stones from the worker below and pass them to the worker above, he went to grab his soup at the cheap diner, completely exhausted, his legs numb, his hands burning, and his eyelashes stuck together with plaster, but feeling proud of himself, carrying his hard-earned money tied up in his handkerchief. He went out without worry, as his white mask made him unrecognizable, and he noticed that the suspicious gaze of the police rarely falls on the real worker. He was quiet and sober. He slept soundly, deeply tired. He was free.
19. At last—supreme recompense!—he had a friend.
19. Finally—ultimate reward!—he had a friend.
[Pg 381]
[Pg 381]
20. It was a mason’s helper like himself, named Savinien, a little peasant from Limoges, red-cheeked, who had come to Paris with his stick over his shoulder and his bundle on the end of it, who fled from the liquor-dealers and went to mass on Sundays. Jean François loved him for his piety, for his candor, for his honesty, for all that he himself had lost, and so long ago. It was a passion profound, reserved, disclosing itself in the care and forethought of a father. Savinien, himself easily moved and self-loving, let things take their course, satisfied only in that he had found a comrade who shared his horror of the wine-shop. The two friends lived together in a furnished room, fairly clean, but their resources were very limited; they had to take into their room a third companion, an old man from Auvergne, sombre and rapacious, who found a way of economizing out of his meagre wages enough to buy some land in his own province.
20. It was a mason’s helper like himself, named Savinien, a small-town guy from Limoges, with rosy cheeks, who had come to Paris with a stick over his shoulder and a bundle at the end of it. He stayed away from the bars and went to church on Sundays. Jean François admired him for his faith, his straightforwardness, his integrity, for everything he himself had lost so long ago. It was a deep, quiet passion, revealing itself in the care and thoughtfulness of a father figure. Savinien, who was easily moved and loved himself, let things unfold naturally, feeling content that he had found a friend who shared his aversion to the wine shop. The two friends lived together in a furnished room that was fairly clean, but their finances were very tight; they had to bring in a third roommate, an old man from Auvergne, who was gloomy and greedy, but managed to save enough from his meager wages to buy a small piece of land in his home province.
21. Jean François and Savinien scarcely left each other. On days of rest they took long walks in the environs of Paris and dined in the open air in one of those little country inns where there are plenty of mushrooms in the sauces and innocent enigmas on the bottoms of the plates. There Jean François made his friend tell him all those things of which those born in the cities are ignorant. He learned the names of the trees, the[Pg 382] flowers, the plants; the seasons for the different harvests; he listened avidly to the thousand details of a farmer’s labors: the autumn’s sowing, the winter’s work, the splendid fêtes of harvest-home and vintage, and the flails beating the ground, and the noise of the mills by the borders of the streams, and the tired horses led to the trough, and the morning hunting in the mists, and, above all, the long evenings around the fire of vine-branches, shortened by tales of wonder. He discovered in himself a spring of imagination hitherto unsuspected, finding a singular delight in the mere recital of these things, so gentle, calm, and monotonous.
21. Jean François and Savinien hardly spent a moment apart. On their days off, they took long walks around Paris and had outdoor dinners at quaint country inns, where the sauces were rich with mushrooms and there were playful riddles at the bottom of the plates. There, Jean François asked his friend to share all the things that city dwellers often miss out on. He learned the names of trees, flowers, and plants; the timing of various harvests; and listened intently to the countless details of a farmer’s life: the sowing in autumn, the work in winter, the grand celebrations of harvest and vintage, the sound of flails hitting the ground, the noise of mills by the streams, the weary horses led to drink, morning hunts in the mist, and especially the long evenings spent around a fire made from vine branches, shortened by captivating stories. He discovered within himself a wellspring of imagination he never knew he had, finding a unique joy in the simple narration of these gentle, calm, and repetitive experiences.
22. One anxiety troubled him, however, that Savinien should not come to know his past. Sometimes there escaped him a shady word of thieves’ slang, an ignoble gesture, vestiges of his horrible former existence; and then he felt the pain of a man whose old wounds reopen, more especially as he thought he saw then in Savinien the awakening of an unhealthy curiosity. When the young man, already tempted by the pleasures which Paris offers even to the poorest, questioned him about the mysteries of the great city, Jean François feigned ignorance and turned the conversation; but he had now conceived a vague inquietude for the future of his friend.
22. One worry nagged at him, though, that Savinien wouldn’t find out about his past. Sometimes, a shady word from the world of thieves slipped out, or an unrefined gesture would show through, reminders of his terrible former life; and then he felt the sting of old wounds reopening, especially when he sensed an unsettling curiosity starting to stir in Savinien. When the young man, already tempted by the pleasures that Paris offers even to those with little, asked him about the secrets of the city, Jean François pretended not to know and changed the subject; but he had begun to feel a vague unease about his friend's future.
23. This was not without foundation, and Savinien could not long remain[Pg 383] the naïve rustic he had been on his arrival in Paris. If the gross and noisy pleasures of the wine-shop always were repugnant to him, he was profoundly troubled by other desires full of danger for the inexperience of his twenty years. When the spring came, he began to seek solitude, and at first he wandered before the gayly lighted entrances to the dancing-halls, through which he saw the girls going in couples, without bonnets—and with their arms around each other’s waists, whispering low. Then, one evening, when the lilacs shed their perfume, and the appeal of the quadrilles was more entrancing, he crossed the threshold, and after that Jean François saw him change little by little in manners and in visage. Savinien became more frivolous, more extravagant; often he borrowed from his friend his miserable savings, which he forgot to repay. Jean François, feeling himself abandoned, was both indulgent and jealous; he suffered and kept silent. He did not think he had the right to reproach; but his penetrating friendship had cruel and insurmountable presentiments.
23. This was not without cause, and Savinien couldn’t stay the naive country boy he had been when he first arrived in Paris. While the loud and crass pleasures of the wine shop always disgusted him, he was deeply troubled by other desires that posed a real danger to his inexperience at twenty. When spring arrived, he started seeking solitude, initially wandering in front of the brightly lit entrances of the dance halls, watching girls go in pairs, without hats and with their arms around each other, whispering softly. Then, one evening, as the lilacs released their fragrance and the allure of the quadrilles became irresistible, he crossed the threshold, and after that, Jean François noticed him gradually change in behavior and appearance. Savinien became more frivolous and extravagant; often, he borrowed his friend's meager savings, forgetting to pay them back. Jean François, feeling abandoned, was both indulgent and jealous; he suffered in silence. He didn’t think he had the right to complain, but his deep friendship brought him painful and unavoidable forebodings.
24. One evening when he was climbing the stairs of his lodging, absorbed in his preoccupations, he heard in the room he was about to enter a dialogue of irritated voices, and he recognized one as that of the old man from Auvergne, who lodged with him and Savinien. An old[Pg 384] habit of suspicion made him pause on the landing, and he listened to learn the cause of the trouble.
24. One evening as he was climbing the stairs to his place, lost in his thoughts, he heard an argument coming from the room he was about to enter. He recognized one voice as belonging to the old man from Auvergne, who lived with him and Savinien. A long-standing habit of suspicion made him stop on the landing, and he listened to find out what was going on.
25. “Yes,” said the man from Auvergne angrily, “I am sure that some one has broken open my trunk and stolen the three louis which I had hidden in a little box; and the man who has done this thing can only be one of the two companions who sleep here, unless it is Maria, the servant. This concerns you as much as me, since you are the master of the house, and I will drag you before the judge if you do not let me at once open up the valises of the two masons. My poor hoard! It was in its place only yesterday; and I will tell you what it was, so that, if we find it, no one can accuse me of lying. Oh, I know them, my three beautiful gold pieces, and I can see them as plainly as I see you. One was a little more worn than the others, of a slightly greenish gold, and that had the portrait of the great Emperor; another had that of a fat old fellow with a queue and epaulets; and the third had a Philippe with side-whiskers. I had marked it with my teeth. No one can trick me, not me. Do you know that I needed only two others like those to pay for my vineyard? Come on, let us look through the things of these comrades, or I will call the police. Make haste!”
25. “Yes,” the man from Auvergne said angrily, “I’m sure someone has broken into my trunk and stolen the three louis I had hidden in a little box; and the person who did this can only be one of the two companions sleeping here, or maybe it’s Maria, the servant. This concerns you just as much as me since you’re the master of the house, and I will take you to court if you don’t let me open the bags of the two masons right away. My poor stash! It was safe just yesterday; and I’ll tell you what it was so that if we find it, no one can accuse me of lying. Oh, I remember them, my three beautiful gold coins, and I can see them clearly, just like I see you. One was a bit more worn than the others, made of slightly greenish gold, with the portrait of the great Emperor; another had the image of a chubby old guy with a queue and epaulets; and the third had a Philippe with side-whiskers. I marked it with my teeth. No one can fool me, not me. Do you know that I only needed two more like those to pay for my vineyard? Come on, let’s search these guys’ things, or I’ll call the police. Hurry up!”
26. “All right,” said the voice of the householder; “we’ll search with Maria. So much the worse if you[Pg 385] find nothing, and if the masons get angry. It is you who have forced me to it.”
26. “Okay,” said the homeowner’s voice; “we’ll search with Maria. Too bad if you[Pg 385] don’t find anything, and if the workers get upset. It’s your fault for making me do this.”
27. Jean François felt his heart fill with fear. He recalled the poverty and the petty borrowings of Savinien, the sombre manner he had borne the last few days. Yet he could not believe in any theft. He heard the panting of the man from Auvergne in the ardor of his search, and he clenched his fists against his breast as if to repress the beatings of his heart.
27. Jean François felt a wave of fear wash over him. He remembered Savinien's struggles with poverty and his small, desperate loans, along with the gloomy mood he had been in these last few days. Still, he couldn't believe he would stoop to stealing. He could hear the man from Auvergne breathing heavily as he searched with intensity, and he clenched his fists against his chest as if to silence the pounding of his heart.
28. “There they are!” suddenly screamed the victorious miser. “There they are, my louis, my dear treasure! And in the Sunday waistcoat of the little hypocrite from Limoges. Look, landlord! they are just as I told you. There’s the Napoleon, and the man with the queue, and the Philippe I had dented with my teeth. Look at the mark. Ah, the little rascal with his saintly look! I should more likely have suspected the other. Ah, the villain! He will have to go to the galleys!”
28. “There they are!” shouted the triumphant miser. “There they are, my louis, my precious treasure! And in the Sunday waistcoat of that little hypocrite from Limoges. Look, landlord! They're just like I told you. There’s the Napoleon, and the guy with the queue, and the Philippe I dented with my teeth. See the mark? Ah, that little rascal with his innocent look! I should have suspected the other one more. Ah, the villain! He’s going to end up in prison!”
29. At this moment Jean François heard the well-known step of Savinien, who was slowly mounting the stairs.
29. At that moment, Jean François heard the familiar footsteps of Savinien, who was slowly climbing the stairs.
30. “He is going to his betrayal,” thought he. “Three flights. I have time!”
30. “He’s heading to his betrayal,” he thought. “Three flights. I have time!”
31. And, pushing open the door, he entered, pale as death, into the room where he saw the landlord and the stupefied servant in a corner, and the man from Auvergne on his knees[Pg 386] amid the disordered clothes, lovingly kissing his gold pieces.
31. And, pushing open the door, he entered, pale as a ghost, into the room where he saw the landlord and the stunned servant in a corner, and the man from Auvergne on his knees[Pg 386] amid the messy clothes, affectionately kissing his gold coins.
32. “Enough of this,” he said in a thick voice. “It is I who have taken the money and who have put it in my comrade’s trunk. But that is too disgusting. I am a thief and not a Judas. Go hunt for the police. I’ll not try to save myself. Only, I must say a word in private to Savinien, who is here.”
32. “That's enough of this,” he said in a rough voice. “I’m the one who took the money and put it in my friend’s trunk. But that’s just terrible. I’m a thief, not a traitor. Go search for the police. I won’t try to save myself. I just need to have a word in private with Savinien, who’s here.”
33. The little man from Limoges had, in fact, just arrived, and, seeing his crime discovered, and believing himself lost, he stood still, his eyes fixed, his arms drooping.
33. The little man from Limoges had just arrived, and when he saw that his crime had been uncovered and thought he was doomed, he froze, his eyes wide and his arms hanging limply.
34. Jean François seized him violently about the neck as though to embrace him; he pressed his mouth to Savinien’s ear and said to him in a voice low and supplicating:
34. Jean François grabbed him tightly around the neck like he was giving him a hug; he leaned in close to Savinien’s ear and said in a soft, pleading voice:
35. “Be quiet!”
"Shh!"
36. Then, turning to the others:
36. Then, turning to the others:
37. “Leave me alone with him. I shall not go away, I tell you. Shut us up, if you wish, but leave us alone.”
37. “Give me some space with him. I'm not going anywhere, I promise you. Lock us up if you want, but just leave us alone.”
38. And, with a gesture of command, he showed them the door. They went out.
38. And, with a commanding gesture, he pointed them to the door. They exited.
39. Savinien, broken with anguish, had seated himself on a bed, and dropped his eyes without comprehending.
39. Savinien, overwhelmed with sorrow, had sat down on a bed and lowered his eyes, not really understanding what was happening.
40. “Listen,” said Jean François, who approached to take his hands. “I understand you have stolen three gold pieces to buy some trifle for a girl. That would have cost six[Pg 387] months of prison for you. But one does not get out of that except to go back again, and you would have become a pillar of the police tribunals and the courts of assizes. I know all about them. I have done seven years in the Reform School, one year at Sainte-Pélagie, three years at Poissy, and five years at Toulon. Now, have no fear. All is arranged. I have taken this affair on my shoulders.”
40. “Listen,” said Jean François, stepping closer to grab his hands. “I get that you stole three gold coins to buy some junk for a girl. That could have landed you six months in jail. But once you're in that system, you just keep getting pulled back, and you would have ended up as a regular in police courts and criminal trials. I know how it works. I spent seven years in the Reform School, one year at Sainte-Pélagie, three years at Poissy, and five years at Toulon. But don’t worry. It’s all sorted out. I’ve taken care of this situation.”
41. “Unhappy fellow!” cried Savinien; but hope was already coming back to his cowardly heart.
41. “Unlucky guy!” shouted Savinien; but hope was already returning to his fearful heart.
42. “When the elder brother is serving under the colors, the younger does not go,” Jean François went on. “I’m your substitute, that’s all. You love me a little, do you not? I am paid. Do not be a baby. Do not refuse. They would have caught me one of these days, for I have broken my exile. And then, you see, that life out there will be less hard for me than for you; I know it, and shall not complain if I do not render you this service in vain and if you swear to me that you will not do it again. Savinien, I have loved you well, and your friendship has made me very happy, for it is thanks to my knowing you that I have kept honest and straight, as I might have been, perhaps, if I had had, like you, a father to put a tool in my hands, a mother to teach me my prayers. My only regret was that I was useless to you and that I was deceiving you about my past. To-day I lay aside the mask in saving you. It is all right. Come, good-bye! Do not weep; and embrace me, for already I hear the big boots on the stairs. They are returning with the police; and we must not seem to know each other so well before these fellows.”
42. “When the older brother is serving in the military, the younger one doesn’t go,” Jean François continued. “I’m your stand-in, that's all. You care about me a little, don’t you? I’m getting paid for this. Don’t act like a child. Don’t refuse. They would have caught me one of these days since I broke my exile. And you see, life out there will be easier for me than for you; I know it, and I won't complain if I help you and you promise not to do this again. Savinien, I’ve cared for you deeply, and your friendship has brought me a lot of joy, because knowing you has kept me honest and straight, unlike what I might have been if I had, like you, a father to give me a tool and a mother to teach me my prayers. My only regret was that I was no use to you and that I was lying about my past. Today I’m dropping the mask to save you. It’s fine. Come on, goodbye! Don’t cry; give me a hug, because I can already hear the heavy boots on the stairs. They’re coming back with the police, and we can’t let them see how well we know each other.”
43. He pressed Savinien hurriedly to his breast, and then he pushed him away as the door opened wide.
43. He quickly pulled Savinien close to his chest, then pushed him away as the door swung open.
44. It was the landlord and the man from Auvergne, who were bringing the police. Jean François started forward to the landing and held out his hands for the handcuffs and said, laughing:
44. It was the landlord and the guy from Auvergne who were bringing the police. Jean François stepped forward to the landing, held out his hands for the handcuffs, and said, laughing:
45. “Forward, bad lot!”
"Move forward, bad crew!"
46. To-day he is at Cayenne, condemned for life, as an incorrigible.
46. Today he is in Cayenne, sentenced to life in prison as a hopeless case.
[Pg 388]
[Pg 388]
SUGGESTIVE QUESTIONS FOR STUDY
1. Write a paragraph showing how character is affected (a) unfavorably and (b) favorably by the two tests, as shown by these two stories.
1. Write a paragraph showing how character is impacted (a) negatively and (b) positively by the two tests, as demonstrated by these two stories.
2. In your opinion, was each character changed or merely revealed by the crisis which occurred in each instance?
2. Do you think each character was changed or just exposed by the crisis that happened in each case?
3. Which of these stories seems the more real to you?
3. Which of these stories feels more real to you?
4. Have you ever heard of a similar instance in real life? If so, cite it.
4. Have you ever heard of a similar situation happening in real life? If so, please mention it.
5. Write a paragraph contrasting the trivial and the important crisis in each story, though both led to important results.
5. Write a paragraph comparing the minor and major crises in each story, even though both led to significant outcomes.
6. Set down all the traits of character exhibited by the two leading actors in each story.
6. Write down all the personality traits shown by the two main characters in each story.
7. Select a character-study from some book or magazine and write a brief discussion of it.
7. Choose a character study from a book or magazine and write a short analysis of it.
8. Do the same for another character-study by (a) Maupassant, and (b) Coppée.
8. Do the same for another character study by (a) Maupassant, and (b) Coppée.
[Pg 389]
[Pg 389]
TEN REPRESENTATIVE CHARACTER STUDIES
“The Captain’s Vices,” François Coppée, translated in Ten Tales by Coppée.
“The Captain’s Vices,” François Coppée, translated in Ten Tales by Coppée.
“The Incarnation of Krishna Mulvaney,” Rudyard Kipling, in Soldiers Three.
“The Incarnation of Krishna Mulvaney,” Rudyard Kipling, in Soldiers Three.
“A New England Nun,” Mary E. Wilkins Freeman, in volume of same title.
“A New England Nun,” Mary E. Wilkins Freeman, in the volume of the same title.
“The Old Gentleman of the Black Stock,” Thomas Nelson Page, Harper’s Magazine, Oct., 1894.
“The Old Gentleman of the Black Stock,” Thomas Nelson Page, Harper’s Magazine, Oct., 1894.
“The Sick-a-Bed Lady,” Eleanor Hallowell Abbott, in volume of same title.
“The Sick-a-Bed Lady,” Eleanor Hallowell Abbott, in volume of the same title.
“The Insurgent,” Ludovic Halévy, translated in Short-Story Masterpieces.
“The Insurgent,” Ludovic Halévy, translated in Short-Story Masterpieces.
“Caybigan,” James Hopper, in volume of same title.
“Caybigan,” James Hopper, in a volume of the same title.
“The Liar,” Henry James, in Short-Story Classics, American.
“The Liar,” Henry James, in Short-Story Classics, American.
“Editha,” W. D. Howells, in Harper’s Novelettes.
“Editha,” W. D. Howells, in Harper’s Novelettes.
“Our Sermon Taster,” Ian Maclaren, in Beside the Bonnie Briar Bush.
“Our Sermon Taster,” Ian Maclaren, in Beside the Bonnie Briar Bush.
[Pg 390]
[Pg 390]
VIII
PSYCHOLOGICAL STUDIES
Markheim.—Robert Louis Stevenson
Markheim.—Robert Louis Stevenson
On the Stairs.—Arthur Morrison
On the Stairs.—Arthur Morrison
[Pg 391]
[Pg 391]
He [the author] can sometimes rouse our intense curiosity and eagerness by the mere depiction of a psychological state, as Walter Pater has done in the case of Sebastian Storck and other personages of his Imaginary Portraits. The fact that “nothing happens” in stories of this kind may be precisely what most interests us, because we are made to understand what it is that inhibits action.—Bliss Perry, A Study of Prose Fiction.
He can sometimes spark our deep curiosity and eagerness just by showing a psychological state, similar to how Walter Pater did with Sebastian Storck and other characters in his Imaginary Portraits. The truth that “nothing happens” in these kinds of stories might be exactly what fascinates us the most, as we come to understand what holds back action.—Bliss Perry, A Study of Prose Fiction.
[Pg 392]
[Pg 392]
PSYCHOLOGICAL STUDIES
A subtle distinction is to be observed between the character-study and the psychological study, but it will not be supposed that writers of short-stories plainly label the distinction, or that the two types are frequently, if ever, found entirely separate. In the character-study more attention is paid to the true natures of the actors, and the demonstration of their natures is shown in the action of the story; in the psychological study more stress is laid upon the actual operation of thought, feeling and purpose—it is a laboratory study of what goes on in the human heart, to use a somewhat vague but necessary term, under stress of crisis.
A subtle distinction can be noted between character studies and psychological studies, but it's not expected that authors of short stories clearly define this difference, nor are the two types often, if ever, completely separate. In character studies, there’s a greater focus on the true natures of the characters, and this is demonstrated through the actions in the story; in psychological studies, more emphasis is placed on the actual processes of thought, feeling, and intention—it's a detailed examination of what happens in the human heart, to use a somewhat vague but essential term, during times of crisis.
[Pg 393]
[Pg 393]
The psychological study is the most difficult because the most penetrating of all short-story forms, and in consequence the most rare in its perfect presentation. To show the processes of reasoning, the interplay of motive, the power of feeling acting upon feeling, and the intricate combinations of these, calls for the most clear-sighted understanding of man, and the utmost skill in literary art, lest the story be lost in a fog of tiresome analysis and discussion. In “Markheim” and “On the Stairs,” two master story-tellers are easily at their best, for they never obtrude their own opinions, but swiftly and with a firm onward movement the stories disclose the true inward workings of the unique characters, while from mood, speech, and action we infallibly infer all the soul-processes by which their conclusions are reached.
The psychological study is the toughest because it's the most insightful of all short story forms, and as a result, the most difficult to perfect. To illustrate the thought processes, the interplay of motives, the way feelings influence each other, and the complex combinations of these requires a deep understanding of human nature and exceptional literary skill, or else the story risks getting lost in a confusing mess of boring analysis and discussion. In “Markheim” and “On the Stairs,” two master storytellers are clearly at their best, as they never impose their own opinions but instead let the stories unfold smoothly, revealing the true inner workings of unique characters. From their mood, speech, and actions, we can easily deduce all the internal processes by which they come to their conclusions.
[Pg 394]
[Pg 394]
MARKHEIM
BY ROBERT LOUIS STEVENSON
BY ROBERT LOUIS STEVENSON
“Yes,” said the dealer, “our wind-falls are of various kinds. Some customers are ignorant, and then I touch a dividend on my superior knowledge. Some are dishonest,” and here he held up the candle, so that the light fell strongly on his visitor, “and in that case,” he continued, “I profit by my virtue.”
“Yes,” said the dealer, “we have different kinds of windfalls. Some customers don’t know much, and I make a profit from my extra knowledge. Some are dishonest,” and here he lifted the candle, letting the light shine brightly on his visitor, “and in that case,” he added, “I benefit from my integrity.”
2. Markheim had but just entered from the daylight streets, and his eyes had not yet grown familiar with the mingled shine and darkness in the shop.Note double reason. At these pointed words, and before the near presence of the flame, he blinked painfully and looked aside.
2. Markheim had just stepped in from the bright streets, and his eyes hadn't yet adjusted to the mix of light and shadow in the shop.Note dual reason. At those sharp words, and with the flame nearby, he blinked hard and glanced away.
3. The dealer chuckled. “You come to me on Christmas-day,” he resumed, “when you know that I am alone in my house, put up my shutters, and make a point of refusing business. Well, you will have to pay for that; you will have to pay for my loss of time, when I should be balancing my books; you will have to pay, besides, for a kind of manner that I remark in you to-day very strongly. I am the essence of discretion, and [Pg 395] ask no awkward questions; but when a customer can not look me in the eye, he has to pay for it.” The dealer once more chuckled; and then, changing to his usual business voice, though still with a note of irony,Markheim has been there before. “You can give, as usual, a clean account of how you came into possession of the object?” he continued. “Still your uncle’s cabinet? A remarkable collector, sir!”
3. The dealer laughed. “You come to me on Christmas Day,” he continued, “when you know I’m alone in my house, closed up my shutters, and make a point of not doing business. Well, you’ll have to pay for that; you’ll have to compensate me for my lost time when I should be balancing my books; you’ll also have to pay for a certain attitude that I’m noticing in you today very clearly. I’m the definition of discretion and don’t ask any uncomfortable questions; but when a customer can’t meet my gaze, he has to pay for it.” The dealer laughed again, and then, switching back to his usual business tone, though still with a hint of irony,Markheim has been there before. “You can, as always, give a clear explanation of how you came into possession of the item?” he continued. “Still your uncle’s cabinet? Quite a remarkable collector, sir!”
4. And the little, pale, round-shouldered dealer stood almost on tip-toe, looking over the top of his gold spectacles, and nodding his head with every mark of disbelief. Markheim returned his gaze with one of infinite pity, and a touch of horror.
4. And the small, pale, round-shouldered dealer stood almost on tiptoe, peering over the top of his gold glasses, and shaking his head in disbelief. Markheim met his gaze with a look of deep pity and a hint of horror.
5. “This time,” he said, “you are in error. I have not come to sell, but to buy. I have no curios to dispose of; my uncle’s cabinet is bare to the wainscot; even were it still intact, I have done well on the Stock Exchange, and should more likely add to it than otherwise, and my errand to-day is simplicity itself. I seek a Christmas-present for a lady,” he continued, waxing more fluent as he struck Insincerity evident.into the speech he had prepared; “and certainly I owe you every excuse for thus disturbing you upon so small a matter. But the thing was neglected yesterday; I must produce my little compliment at dinner; and, as you very well know, a rich marriage is not a thing to be neglected.”
5. “This time,” he said, “you’re mistaken. I haven't come to sell anything but to buy. I don’t have any curiosities to get rid of; my uncle’s cabinet is completely empty; even if it were still full, I've done well on the Stock Exchange, and I'd probably just add to it rather than take away. My purpose today is quite simple. I'm looking for a Christmas present for a lady,” he continued, becoming more fluent as he slipped into the speech he had prepared; “and I certainly owe you an apology for disturbing you over something so trivial. But I neglected it yesterday; I need to present my little gift at dinner; and, as you well know, a wealthy marriage isn’t something to be overlooked.”
[Pg 396]
[Pg 396]
6. There followed a pause, during which the dealer seemed to weigh this statement incredulously. The ticking of many clocks among the curious lumber of the shop, and the faint rushing of the cabs in a near thoroughfare, filled up the interval of silence.
6. There was a moment of silence as the dealer seemed to take in this statement with disbelief. The ticking of various clocks amid the clutter of the shop, along with the distant rush of cabs on a nearby street, filled the quiet.
7. “Well, sir,” said the dealer, “be it so. You are an old customer after all; and if, as you say, you have the chance of a good marriage, far be it from me to be an obstacle. Here is a nice thing for a lady now,” he went on, “this hand-glass—fifteenth century, warranted; comes from a good collection, too; but I reserve the name, in the interests of my customer, who was just like yourself, my dear sir, the nephew and sole heir of a remarkable collector.”
7. “Well, sir,” said the dealer, “if that’s how it is. You are an old customer, after all; and if, as you mention, you have the opportunity for a good marriage, I won’t stand in your way. Here’s something nice for a lady,” he continued, “this hand mirror—fifteenth century, guaranteed; it comes from a great collection as well; but I won’t share the name for the sake of my customer, who was just like you, my dear sir, the nephew and sole heir of an impressive collector.”
8. The dealer, while he thus ran on in his dry and biting voice, had stooped to take the object from its place; and, as he had done so, a shock had passed through Markheim, a start both of hand and foot, a sudden leap of many tumultuous passions to the face. It passed as swiftly as it came, and left no trace beyond a certain trembling of the hand that now received the glass.
8. The dealer, while he continued to speak in his dry and sharp voice, bent down to grab the object from its spot; and, as he did this, a jolt ran through Markheim, causing him to flinch both in his hands and feet, a sudden surge of chaotic emotions flashing across his face. It came and went as quickly as it arrived, leaving no sign except for a slight shaking of the hand that now held the glass.
9. “A glass,” he said, hoarsely, and then paused, and repeated it more clearly. “A glass? For Christmas? Surely not?”
9. “A glass,” he said hoarsely, then paused and said it again more clearly. “A glass? For Christmas? Really?”
10. “And why not?” cried the dealer. “Why not a glass?”
10. “And why not?” shouted the dealer. “Why not have a drink?”
11. Markheim was looking upon [Pg 397] him with an indefinable expression. “You ask me why not?” he said. “Why, look here—look in it—look at yourself! Do you like to see it? No! nor I—nor any man.”
11. Markheim was staring at him with an unreadable look. [Pg 397] “You want to know why not?” he said. “Well, take a look—look inside it—look at yourself! Do you like what you see? No! Neither do I—nor does any man.”
12. The little man had jumped back when Markheim had so suddenly confronted him with the mirror; but now, perceiving there was nothing worse on hand, he chuckled. “Your future lady, sir, must be pretty hard favoured,” said he.
12. The little man had jumped back when Markheim suddenly showed him the mirror; but now, realizing there was nothing worse going on, he laughed. “Your future lady, sir, must be quite plain,” he said.
13. “I ask you,” said Markheim, “for a Christmas-present, and you give me this—this damned reminder of years, and sins and follies—this hand-conscience! Did you mean it? Had you a thought in your mind? Tell me. It will be better for you if you do. Come, tell me about yourself. I hazard a guess now, that you are in secret a very charitable man?”
13. “I ask you,” said Markheim, “for a Christmas gift, and you give me this—this cursed reminder of years, sins, and mistakes—this hand-conscience! Was that your intention? Did you have a thought in mind? Come on, tell me. It’ll be better for you if you do. So, share something about yourself. I’ll take a wild guess and say that you’re actually a very charitable person, aren’t you?”
14. The dealer looked closely at his companion. It was very odd, Markheim did not appear to be laughing; there was something in his face like an eager sparkle of hope, but nothing of mirth.
14. The dealer studied his companion intently. It was strange; Markheim didn’t seem to be laughing. There was something in his expression that resembled an eager glimmer of hope, but there was no joy.
15. “What are you driving at?” the dealer asked.
15. “What are you getting at?” the dealer asked.
16. “Not charitable?” returned the other, gloomily. “Not charitable; not pious; not scrupulous; unloving, unbeloved; a hand to get money, a safe to keep it. Is that all? Dear God, man, is that all?”
16. “Not charitable?” the other replied, gloomily. “Not charitable; not pious; not careful; unloving, unloved; just a hand to grab money, a vault to store it. Is that it? Dear God, is that really it?”
17. “I will tell you what it is,” began the dealer, with some sharpness,[Pg 398] and then broke off again into a chuckle. “But I see this is a love match of yours, and you have been drinking the lady’s health.”
17. “I’ll tell you what it is,” the dealer started, sounding a bit annoyed,[Pg 398] but then he paused and chuckled. “But I see this is a love match for you, and you’ve been toasting the lady’s health.”
18. “Ah!” cried Markheim, with a strange curiosity. “Ah, have you been in love? Tell me about that.”
18. “Ah!” exclaimed Markheim, with an unusual curiosity. “Ah, have you ever been in love? Tell me about it.”
19. “I,” cried the dealer. “I in love! I never had the time, nor have I the time to-day for all this nonsense. Will you take the glass?”
19. “Me,” shouted the dealer. “Me in love! I never had the time, and I don't have the time today for all this nonsense. Will you take the glass?”
20. “Where is the hurry?” returned Markheim. “It is very pleasant to stand here talking; and life is so short and insecure that I would not hurry away from any pleasure—no, not even from so mild a one as this. We should rather cling, cling to what little we can get, like a man at a cliff’s edge. Every second is a cliff, if you think upon it—a cliff a mile high—high enough, if we fall, to dash us out of every feature of humanity. Hence it is best to talk pleasantly. Let us talk of each other; why should we wear this mask? Let us be confidential. Who knows, we might become friends?”
20. “What’s the rush?” Markheim replied. “It feels nice to stand here talking; and life is so short and unpredictable that I wouldn’t want to miss out on any enjoyment—not even something as simple as this. We should hold on tight to what little pleasure we can find, like someone clinging to the edge of a cliff. Every second is like a cliff, if you really think about it—a cliff a mile high—high enough, if we fall, to wipe away all our humanity. So it’s better to chat pleasantly. Let’s talk about ourselves; why wear this mask? Let’s be open with each other. Who knows, we might just become friends?”
21. “I have just one word to say to you,” said the dealer. “Either make your purchase, or walk out of my shop.”
21. “I just have one thing to say to you,” said the dealer. “Either buy something, or leave my shop.”
22. “True, true,” said Markheim. “Enough fooling. To business. Show me something else.”
22. “Yeah, yeah,” said Markheim. “Enough joking around. Let’s get down to business. Show me something else.”
23. The dealer stooped once more, this time to replace the glass upon the shelf, his thin blonde hair falling over his eyes as he did so. [Pg 399] Markheim moved a little nearer, with one hand in the pocket of his great-coat; he drew himself up and filled his lungs; at the same time many Note all these. different emotions were depicted together on his face—terror, horror and resolve, fascination and a physical repulsion; and through a haggard lift of his upper lip, his teeth looked out.
23. The dealer bent down again, this time to set the glass back on the shelf, his thin blonde hair falling over his eyes as he did so. [Pg 399] Markheim moved a bit closer, one hand in the pocket of his coat; he straightened up and took a deep breath; at the same time, many Understood. Please provide the text you would like me to modernize. different emotions played out on his face—fear, horror and determination, fascination and a physical disgust; and through a worn lift of his upper lip, his teeth were visible.
24. “This, perhaps, may suit,” observed the dealer; and then, as he began to re-arise, Markheim bounded from behind upon his victim. The long, skewerlike dagger flashed and fell. The dealer struggled like a hen, striking his temple on the shelf, and then tumbled on the floor in a heap.
24. “This might work,” the dealer suggested; and then, as he started to get up, Markheim leaped from behind onto him. The long, sharp dagger glinted and struck. The dealer fought like a trapped bird, hitting his head on the shelf, and then collapsed onto the floor in a pile.
25. Time had some score of small voices in that shop, some stately and slow as was becoming to their great age; others garrulous and hurried. All these told out the seconds in an intricate chorus of tickings. Then the passage of a lad’s feet, heavily running on the pavement, broke in upon these smaller voices and startled Markheim into the consciousness of his surroundings. He looked about him awfully. Beginning of the internal action. Note how all external things now begin to play upon the internal man. The candle stood on the counter, its flame solemnly wagging in a draught; and by that inconsiderable movement, the whole room was filled with noiseless bustle and kept heaving like a sea: the Throughout, note Stevenson’s rich imagery, and also his unusual vocabulary. tall shadows nodding, the gross blots of darkness swelling and dwindling as with respiration, the faces of the portraits and the china gods changing [Pg 400] and wavering like images in water. The inner door stood ajar, and peered into that leaguer An unusual word. of shadows with a long slit of daylight like a pointing finger.
25. There were dozens of quiet voices in that shop, some dignified and slow, fitting their old age; others chatty and rushed. Together, they marked the seconds in a complex rhythm of ticking. Then, the loud footfalls of a boy running on the pavement interrupted these small voices and jolted Markheim into awareness of his surroundings. He looked around in alarm. Start of the internal journey. Notice how everything outside now starts to influence the inner self. The candle sat on the counter, its flame swaying solemnly in a draft; and with that small movement, the entire room filled with silent activity, undulating like the sea: the Throughout, pay attention to Stevenson's vivid imagery and his unique vocabulary. tall shadows nodding, thick patches of darkness expanding and contracting as if breathing, the faces of the portraits and the china gods shifting and wavering like reflections in water. The inner door was slightly open, revealing a sliver of daylight that looked like a pointing finger into that fortress A rare word. of shadows.
26. From these fear-stricken rovings, Markheim’s eyes returned to the body of his victim, where it lay both humped and sprawling, incredibly small and strangely meaner than in life. In these poor, miserly clothes, in that ungainly attitude, the dealer lay like so much sawdust.Evidence of premeditation. Markheim had feared to see it, and, lo! it was nothing. And yet, as he gazed, this bundle of old clothes and pool of blood began to find eloquent voices.Note the interplay of the outward picture and Markheim’s mind. Keep before you always the double movement of this study as both progress side by side, finally resulting in the predominance of the spiritual. There it must lie; there was none to work the cunning hinges or direct the miracle of locomotion—there it must lie till it was found. Found! ay, and then? Then would this dead flesh lift up a cry that would ring over England, and fill the world with the echoes of pursuit. Ay, dead, or not, this was still the enemy. “Time was that when the brains were out,” he thought; and the first word struck into his mind. Time, now that the deed was accomplished—time, which had closed for the victim, had become instant and momentous for the slayer.
26. From these fear-filled wanderings, Markheim’s eyes went back to the body of his victim, lying both bent and sprawled, oddly small and strangely meaner than in life. In these shabby, pitiful clothes, in that awkward position, the dealer lay like a pile of sawdust.Proof of planning. Markheim had dreaded this moment, and yet, it turned out to be nothing. And still, as he looked, this heap of old clothes and pool of blood began to speak powerfully.Notice the relationship between the external scene and Markheim’s thoughts. Always remember the simultaneous progression of this study, which ultimately leads to the dominance of the spiritual. It had to lie there; there was no one to work the hidden mechanisms or make it move—there it must remain until discovered. Discovered! Yes, and then? Then would this lifeless body raise a shout that would echo across England and fill the world with the sounds of chase. Yes, whether dead or alive, this was still the enemy. “There was a time when the brains were out,” he thought; and the first word struck his mind. Time, now that the act was done—time, which had ended for the victim, had become immediate and critical for the killer.
27. The thought was yet in his mind, when, first one and then another, with every variety of pace and voice—one deep as the bell from a cathedral turret, another[Pg 401] ringing on its treble notes the prelude of a waltz—the clocks began to strike the hour of three in the afternoon.
27. The thought was still in his mind when, one by one, with all kinds of rhythms and tones—one deep like the bell from a cathedral tower, another[Pg 401] ringing out its high notes signaling the start of a waltz—the clocks began to chime three o'clock in the afternoon.
28. The sudden outbreak of so many tongues in that dumb chamber staggered him. He began to bestir himself, going to and fro with the candle, beleaguered by moving shadows, and startled to the soul by chance reflections. In many rich mirrors, some of home designs, some from Venice or Amsterdam, he saw The old motive reasserts itself. his face repeated and repeated, as it were an army of spies; his own eyes met and detected him; and the sound of his own steps, lightly as they fell, vexed the surrounding quiet. Plot Incident.And still as he continued to fill his pockets, his mind accused him, with a sickening iteration, of the thousand faults of his design.As fear subsides craft returns. He should have chosen a more quiet hour; he should have prepared an alibi; he should not have used a knife; he should have been more cautious, and only bound and gagged the dealer, and not killed him; he should have been more bold, and killed the servant also; he should have done all things otherwise; poignant regrets, weary, incessant toiling of the mind to change what was unchangeable, to plan what was now useless, to be the architect of A significant expression. the irrevocable past. Meanwhile, and behind all this activity, brute terrors, like scurrying of rats in a deserted attic, filled the more remoteContrast physical and moral fear. Consider how the two are related. [Pg 402] chambers of his brain with riot; the hand of the constable would fall heavy on his shoulder, and his nerves would jerk like a hooked fish; or he beheld, in galloping defile, the dock, the prison, the gallows, and the black coffin.
28. The sudden outburst of voices in that silent room shocked him. He started to move around, carrying the candle, surrounded by shifting shadows, and was deeply startled by unexpected reflections. In several ornate mirrors, some with home designs and others from Venice or Amsterdam, he saw his face multiplied, like an army of spies; his own eyes met and caught sight of him, and the sound of his own footsteps, light as they were, disturbed the surrounding silence. The old motive comes back. And as he continued to fill his pockets, his mind relentlessly reminded him, in a sickening loop, of the countless mistakes in his plan. As fear fades, creativity returns. He should have picked a quieter time; he should have set up an alibi; he shouldn’t have used a knife; he should have been more careful, only binding and gagging the dealer instead of killing him; he should have been bolder and also killed the servant; he should have done everything differently; the painful regrets, the exhausting, endless efforts of his mind to change the unchangeable, to strategize what was now pointless, to be the architect of A major expression. the irreversible past. Meanwhile, and behind all this activity, raw fears, like the scurrying of rats in an empty attic, filled the more distant Compare physical fear and moral fear. Think about how the two are connected. chambers of his mind with chaos; the constable's hand would press down heavily on his shoulder, making his nerves twitch like a hooked fish; or he imagined, in a rapid procession, the courtroom, the prison, the gallows, and the dark coffin.
29. Terror of the people in the
street sat down before his mind like
a besieging army. It was impossible,
he thought, but that some rumor of
the struggle must have reached their
ears and set on edge their curiosity;
and now, in all the neighboring
houses, he divined them sitting motionless
and with uplifted ear—solitary
people, condemned to spend Contrast.
Christmas dwelling alone on memories
of the past, and now startlingly
recalled from that tender exercise;
happy family parties, struck into
silence round the table, the mother
still with raised finger: every degree
and age and humor, but all, by their
own hearths, prying and hearkening
and weaving the rope that was to
hang him. Sometimes it seemed to
him he could not move too softly;
the clink of the tall Bohemian goblets
rang out loudly like a bell; and
alarmed by the bigness of the ticking,
he was tempted to stop the
clocks. Study of fear.
Impressionism.And then, again, with a
swift transition of his terrors, the
very silence of the place appeared a
source of peril, and a thing to strike
and freeze the passerby; and he
would step more boldly, and bustle
aloud among the contents of the[Pg 403]
shop, and imitate, with elaborate
bravado, the movements of a busy
man at ease in his own house.
29. The fear of the people outside settled over his mind like a besieging army. It seemed impossible that some rumor about the struggle hadn't reached them, sparking their curiosity; and now, in all the nearby homes, he imagined them sitting still with ears perked up—lonely individuals, forced to spend Contrast. Christmas reminiscing about the past, suddenly jolted from that tender state; joyful family gatherings, stopped in silence around the table, the mother still holding her finger up: every age and mood represented, but all of them, in their own homes, prying and listening and weaving the rope that would hang him. Sometimes it felt like he couldn't move quietly enough; the clink of the tall Bohemian goblets echoed loudly like a bell; and overwhelmed by the loud ticking, he was tempted to stop the clocks. Fear study.
Impressionism. And then, with a quick shift in his fears, the very silence of the place seemed dangerous, something that could strike and freeze anyone passing by; so he would walk more confidently, making a noise among the items in the [Pg 403] shop, mimicking, with exaggerated bravado, the movements of a busy man comfortable in his own home.
30. But he was now so pulled about by different alarms that, while one portion of his mind was still alert and cunning, another trembled on the brink of lunacy. One hallucination in particular took a strong hold on his credulity. The neighbor hearkening with white face beside his window, the passerby arrested by a horrible surmise on the pavement—these could at worst suspect, they could not know; through the brick walls and shuttered windows only sounds could penetrate.Note how his reasoning becomes hyper-acute But here, within the house, was he alone? He knew he was; he had watched the servant set forth sweethearting, in her poor best, “out for the day” written in every ribbon and smile. Yes, he was alone, of course; and yet, in the bulk of empty house above him, he could surely hear a stir of delicate footing—he was surely conscious, inexplicably conscious of some presence. Forecast.Ay, surely; to every room and corner of the house his imagination followed it; and now it was a faceless thing, and yet had eyes to see with; and again it was a shadow of himself; and yet again behold the image of the dead dealer, reinspired with cunning and hatred.
30. But he was now so overwhelmed by different fears that, while part of his mind remained alert and clever, another part was teetering on the edge of madness. One particular hallucination gripped his belief strongly. The neighbor listening with a pale face by his window, the passerby stopped on the pavement by a horrific guess—these could at worst suspect, but they couldn’t know; through the brick walls and shuttered windows, only sounds could get through. Notice how his reasoning becomes extremely sharp. But here, inside the house, was he really alone? He knew he was; he had watched the servant leave, all dressed up for a day out, “out for the day” written all over her ribbons and smiles. Yes, he was definitely alone, of course; and yet, in the vast emptiness of the house above him, he could definitely hear a soft movement—he was inexplicably aware of a presence. Weather update. Yes, definitely; his imagination chased it into every room and corner of the house; and now it was a featureless thing, yet it had eyes to see with; and again it was a shadow of himself; and once more there was the image of the dead dealer, reanimated with cunning and hatred.
31. At times, with a strong effort, he would glance at the open door which still seemed to repel his eyes. [Pg 404] The house was tall, the skylight small and dirty, the day Note force of “blind.”blind with fog; and the light that filtered down to the ground story was exceedingly faint, and showed dimly on the threshold of the shop. And yet, in that strip of doubtful brightness, did there not hang wavering a shadow?
31. Sometimes, with a lot of effort, he would glance at the open door, which still seemed to push his eyes away. [Pg 404] The house was tall, the skylight was small and dirty, and the day was Note the power of "blind."blind with fog; the light that made its way down to the ground floor was extremely dim and barely lit up the threshold of the shop. And yet, in that narrow strip of uncertain brightness, wasn’t a shadow flickering there?
32. Suddenly, from the street outside, a very jovial gentleman began to beat with a staff on the shop-door, accompanying his blows with shouts and railleries in which the dealer was continually called upon by name. Contributory incident. Markheim, smitten into ice, glanced at the dead man. But no! he lay quite still; he was fled away far beyond earshot of these blows and shoutings; he was sunk beneath seas of silence; and his name, which would once have caught his notice above the howling of a storm, had become an empty sound. And presently the jovial gentleman desisted from his knocking and departed.
32. Suddenly, from the street outside, a very cheerful man started pounding on the shop door with a stick, shouting and teasing the dealer by name. Contributing incident. Markheim, frozen in place, glanced at the dead man. But no! He lay completely still; he had gone far beyond the reach of these knocks and shouts; he was buried in deep silence, and his name, which would have once caught his attention above the chaos, had become an empty echo. Then the cheerful man stopped knocking and left.
33. Here was a broad hint to hurry what remained to be done, to get forth from this accusing neighborhood, to plunge into a bath of London multitudes, and to reach, on Note “apparent.” the other side of day, that haven of safety and apparent innocence—his bed. One visitor had come: at any moment another might follow and be more obstinate. Key.To have done the deed, and yet not to reap the profit, would be too abhorrent a failure. The money, that was now[Pg 405] Markheim’s concern; and as a means to that, the keys.
33. Here was a clear sign to wrap up what was left to do, to get away from this accusatory area, to dive into the crowd of London, and to reach, at the end of the day, that safe and seemingly innocent place—his bed. One visitor had come: at any moment another could arrive and be more persistent. To have committed the act, and yet not to gain anything from it, would be an unbearable failure. The money was now Markheim’s priority; and for that, the keys.
34. He glanced over his shoulder at the open door, where the shadow was still lingering and shivering; and with no conscious repugnance of the mind, yet with a tremor of the belly, he drew near the body of his victim. The human character had quite departed. Like a suit half-stuffed with bran, the limbs lay scattered, the trunk doubled, on the floor; and yet the thing repelled him. Although so dingy and inconsiderable to the eye, he feared it might have more significance to the touch. He took the body by the shoulders, and turned it on its back. It was strangely light and supple, and the limbs, as if they had been broken, fell into the oddest postures. Carefully consider the question of Markheim’s sanity, judging only from the story as thus far told.The face was robbed of all expression; but it was as pale as wax, and shockingly smeared with blood about one temple. That was, for Markheim, the one displeasing circumstance. It carried him back, upon the instant, to a certain fair day in a fisher’s village: a gray day, a piping wind, a crowd upon the street, the blare of brasses, the booming of drums, the nasal voice of a ballad singer; and a boy going to and fro, buried over head in the crowd and divided between interest and fear, until, coming out upon the chief place of concourse, he beheld a booth and a great screen with pictures, dismally designed, garishly colored: Brownrigg[Pg 406] with her apprentice; the Mannings with their murdered guest; Weare in the death-grip of Thurtell; and a score besides of famous crimes. The thing was as clear as an illusion; he was once again that little boy; he was looking once again, and with the same sense of physical revolt, at these vile pictures; he was still stunned by the thumping of the drums.Reaction. A bar of that day’s music returned upon his memory; and at that, for the first time, a qualm came over him, a breath of nausea, a sudden weakness of the joints, which he must instantly resist and conquer.
34. He glanced over his shoulder at the open door where the shadow still lingered and trembled. Without any conscious dislike, but feeling a knot in his stomach, he approached the body of his victim. The human essence had completely vanished. Like a suit filled halfway with straw, the limbs lay scattered, the torso twisted on the floor, and yet the sight revolted him. Although it looked so grimy and insignificant, he worried it might feel more telling to the touch. He grabbed the body by the shoulders and turned it onto its back. It was oddly light and flexible, with the limbs, as if they were broken, falling into strange positions. Think carefully about whether Markheim is sane, judging only from the story that has been told so far. The face was devoid of all expression; it was as pale as wax, shockingly smeared with blood around one temple. For Markheim, that was the one unpleasant detail. It instantly transported him back to a certain bright day in a fishing village: a gray day, with a chilly wind, a crowd on the street, brass instruments blaring, drums booming, and the nasal voice of a ballad singer. A boy was moving back and forth, lost in the crowd and torn between curiosity and fear, until he reached the main gathering spot and saw a booth with a large screen showing disturbing pictures, garishly colored: Brownrigg[Pg 406] with her apprentice; the Mannings with their murdered guest; Weare caught in the death grip of Thurtell; and many other infamous crimes. The scene felt like an illusion; he was once again that little boy, looking again, and feeling the same disgust at these horrible images; still reeling from the pounding of the drums.Response. A bar from that day's music played back in his memory, and for the first time, a wave of nausea hit him, a sudden weakness in his joints that he had to immediately fight against and overcome.
35. He judged it more prudent to confront than to flee from these considerations; looking the more hardily in the dead face, bending his mind to realize the nature and greatness of his crime. So little a while ago that face had moved with every change of sentiment, that pale mouth had spoken, that body had been all on fire with governable energies; and now, and by his act, that piece of life had been arrested, as the horologist, with interjected finger,Key. What caused this benumbed conscience? arrests the beating of the clock. So he reasoned in vain; he could rise to no more remorseful consciousness; the same heart which had shuddered before the painted effigies of crime, looked on its reality unmoved. At best, he felt a gleam of pity for one who had been endowed in vain with all those faculties that can make the world a garden of enchantment,[Pg 407] one who had never lived and who was now dead. But of penitence, no, not a tremor.
35. He thought it wiser to face these thoughts rather than run away from them; he stared boldly at the dead face, focusing on understanding the nature and extent of his crime. Just a short while ago, that face had shown every shift of feeling, that pale mouth had spoken, and that body had been full of vibrant energy; now, thanks to his actions, that life had been halted, like a clockmaker who pauses the clock with a touch,Key. What led to this numb conscience? holding back the ticking of time. He reasoned, but it was pointless; he couldn't reach a deeper sense of remorse. The same heart that had flinched at the painted images of crime viewed the real thing without reaction. At best, he felt a flicker of pity for someone who had been given all those abilities that could have turned the world into a magical place,[Pg 407] someone who had never truly lived and was now dead. But as for regret, no, not even a shiver.
36. With that, shaking himself clear of these considerations, he found the keys and advanced toward the open door of the shop. Outside, it had begun to rain smartly; and the sound of the shower upon the roof had banished silence. Like some dripping cavern, the chambers of the house were haunted by an incessant echoing, which filled the ear and mingled with the ticking of the clocks. Forecast of moral crisis.And, as Markheim approached the door, he seemed to hear, in answer to his own cautious tread, the steps of another foot withdrawing up the stair. The shadow still palpitated loosely on the threshold. He threw a ton’s weight of resolve upon his muscles, and drew back the door.
36. With that, shaking off these thoughts, he found the keys and moved toward the open shop door. Outside, it had started to rain heavily; the sound of the downpour on the roof had chased away the silence. Like some dripping cave, the rooms of the house were filled with a constant echo that filled the air and mixed with the ticking of the clocks. Forecast of ethical crisis. And as Markheim got closer to the door, he felt like he could hear, in response to his own careful steps, the sound of another footstep retreating up the stairs. The shadow still shimmered loosely on the threshold. He mustered a ton of determination and pulled the door back.
37. The faint, foggy daylight glimmered dimly on the bare floor and stairs; on the bright suit of armor posted, halbert in hand, upon the landing; and on the dark wood-carvings, and framed pictures that hung against the yellow panels of the wainscot. So loud was the beating Note harmony of setting with tone of approaching crisis. of the rain through all the house that, in Markheim’s ears, it began to be distinguished into many different sounds. Footsteps and sighs, the tread of regiments marching in the distance, the chink of money in theCompare Stevenson’s combination of fact and fantasy with Hawthorne’s in “The White Old Maid.” counting, and the creaking of doors held stealthily ajar, appeared to [Pg 408] mingle with the patter of the drops upon the cupola and the gushing of the water in the pipes. The sense that he was not alone grew upon him to the verge of madness.Rise toward crisis. On every side he was haunted and begirt by presences. He heard them moving in the upper chambers; from the shop, he heard the dead man getting to his legs; and as he began with a great effort to mount the stairs, feet fled quietly before him and followed stealthily behind.Body and spirit. If he were but deaf, he thought, how tranquilly he would possess his soul. And then again, and hearkening with every fresh attention, he blessed himself for that unresisting sense which held the outposts and stood a trusty sentinel upon his life. His head turned continually on his neck; his eyes, which seemed starting from their orbits, scouted on every side,A notable passage. and on every side were half-rewarded as with the tail of something nameless, vanishing. The four-and-twenty steps to the first floor were four-and-twenty agonies.
37. The faint, foggy daylight glimmered dimly on the bare floor and stairs, on the shiny suit of armor standing with a halberd in hand at the landing, and on the dark wood carvings and framed pictures that hung against the yellow panels of the wainscot. The sound of the rain pounding on the house was so loud that, in Markheim’s ears, it began to separate into many different sounds. He heard footsteps and sighs, the distant march of regiments, the clinking of coins in the counting, and the creaking of doors left slightly open, all mixing with the patter of raindrops on the cupola and the rushing water in the pipes. The feeling that he was not alone grew so strong it almost drove him crazy. He felt surrounded and haunted by unseen presences. He heard them moving in the upper rooms; from the shop, he could hear the dead man getting to his feet; and as he struggled to climb the stairs, he sensed feet quietly retreating and stealthily following behind him. If he were only deaf, he thought, how peacefully he could hold on to his soul. Yet again, listening intently, he was grateful for that unyielding sense which acted as a trustworthy guard over his life. His head constantly turned, and his eyes seemed to bulge from their sockets, scanning everywhere, only to catch glimpses of something nameless vanishing in every direction. The twenty-four steps to the first floor felt like twenty-four agonies.
38. On that first story, the doors stood ajar, three of them like three ambushes, shaking his nerves like the throats of cannon. He could never again, he felt, be sufficiently immured and fortified from men’s observing eyes; he longed to be home, girt in by walls, buried among Note the exception. bed-clothes, and invisible to all but God. And at that thought he wondered a little, recollecting tales of[Pg 409] other murderers and the fear they were said to entertain of heavenly avengers. It was not so, at least, with him. He feared the laws of nature, lest, in their callous and immutable procedure, they should preserve some damning evidence of his crime. He feared tenfold more, with a slavish, superstitious terror, some scission in the continuity of man’s experience, some willful illegality of nature. He played a game of skill, depending on the rules, calculating consequence from cause; and what if nature, as the defeated tyrant overthrew the chess-board, should break the mold of their succession? The like had befallen Napoleon (so writers said) when the winter changed Note how suspense in the reader is maintained by disclosing Markheim’s suspense. the time of its appearance. The like might befall Markheim: the solid walls might become transparent and reveal his doings like those of bees in a glass hive; the stout planks might yield under his foot like quicksands and detain him in their clutch; ay, and there were soberer accidents that might destroy him; if, for instance, the house should fall and imprison him beside the body of his victim; or the house next door should fly on fire, and the firemen invade him from all sides. These things he feared; and, in a sense, these things might be called the hands of God reached forth against Key. sin. But about God himself he was at ease; his act was doubtless exceptional, but so were his excuses,[Pg 410] Is this normal? which God knew; it was there, and not among men, that he felt sure of justice.
38. In that first moment, the doors were slightly open, three of them like three traps, shaking his nerves like cannon fire. He felt he could never be sufficiently shielded from people’s watchful eyes again; he longed to be home, surrounded by walls, buried under blankets, and unseen by anyone but God. As he thought about this, he recalled stories of other murderers and the fear they were said to have of divine retribution. But that wasn’t the case for him. He feared the laws of nature, worried that their cold and unchangeable actions might keep some incriminating evidence of his crime. Even more so, he was plagued by a superstitious terror of some disruption in the flow of human experience, some defiance of nature's laws. He was playing a game of skill, relying on the rules and calculating consequences from actions; what if nature, like a defeated tyrant flipping the chessboard, decided to disrupt that flow? Similar fates had befallen Napoleon (or so writers said) when winter unexpectedly changed. The same could happen to Markheim: the solid walls might become transparent, exposing his actions like bees in a glass hive; the sturdy floorboards might give way like quicksand and trap him; yes, and there were more serious accidents that could ruin him; for instance, if the house collapsed and trapped him next to his victim, or if the neighboring house caught fire and firefighters cornered him from all sides. These were his fears; in a way, these could be seen as the hands of God reaching out against sin. But he felt at ease about God himself; his actions were certainly unusual, but so were his reasons, which God understood; it was there, not among people, that he felt certain of justice.
39. When he had got safe into the drawing-room, and shut the door behind him, he was aware of a respite from alarms. The room was quite dismantled, uncarpeted besides, and strewn with packing cases and incongruous furniture; several great pier-glasses, in which he beheld himself at various angles, like an actor on the stage; many pictures, framed and unframed, standing with their faces to the wall; a fine Sheraton sideboard, a cabinet of marquetry, and a great old bed, with tapestry hangings. The windows opened to the floor; but by great good fortune the lower part of the shutters had been closed, and this concealed him from the neighbors. Here, then, Markheim drew in a packing case before the cabinet, and began to search among the keys. It was a long business, for there were many; and it was irksome, besides; for, after all, there might be nothing in the cabinet, and time was on the wing. But the closeness of the occupation sobered him. With the tail of his eye he saw the door—even glanced at it from time to time directly, like a besieged commander pleased to verify the good estate of his defenses. Remarkable relief in suspense period. But in truth he was at peace. The rain falling in the street sounded natural and pleasant. Presently, on the other side, the notes of a piano were[Pg 411] wakened to the music of a hymn, and voices of many children took up the air and words. How stately, how comfortable was the melody! How fresh the youthful voices! Markheim gave ear to it smilingly, as he sorted out the keys; and his mind was thronged with answerable ideas and images; church-going children and the pealing of the high organ; children afield, bathers by the brookside, ramblers on the brambly common, kite-flyers in the windy and cloud-navigated sky; and then, at another cadence of the hymn, back again to church, and the somnolence of summer Sundays, and the high genteel voice of the parson (which he smiled a little to recall) and the painted Jacobean tombs, and the dim lettering of the Ten Commandments in the chancel.
39. Once he was safely inside the living room and had shut the door behind him, he felt a sense of relief from the tension. The room was completely bare, without a carpet, and cluttered with packing boxes and mismatched furniture; several large mirrors reflected him from different angles, like a performer on stage; many pictures, both framed and unframed, were turned against the wall; there was an elegant Sheraton sideboard, a marquetry cabinet, and a large old bed with tapestry hangings. The windows reached down to the floor, but fortunately, the lower part of the shutters was closed, keeping him hidden from the neighbors. So, Markheim pulled up a packing case in front of the cabinet and started searching through the keys. It took a long time because there were so many, and it was frustrating as well; after all, the cabinet might be empty, and time was running out. Yet, focusing on this task helped to steady him. Out of the corner of his eye, he kept an eye on the door, occasionally glancing directly at it like a besieged leader checking the status of his defenses. Amazing relief during suspense period. In truth, he felt at ease. The rain outside sounded natural and pleasant. Soon, from the other side, the notes of a piano began to play a hymn, and the voices of children joined in with the melody and lyrics. How grand and comforting the tune was! How fresh the young voices! Markheim listened to it with a smile while sorting through the keys, and his mind filled with corresponding thoughts and images: children going to church, the sound of the organ, kids playing outside, bathers by the stream, walkers on the thorny common, kite-flyers in the windy sky; then, as the hymn shifted, he returned to thoughts of church, the drowsiness of summer Sundays, the high, refined voice of the pastor (which made him smile a little to remember), the painted Jacobean tombs, and the faint lettering of the Ten Commandments in the chancel.
40. And as he sat thus, at once busy and absent, he was startled to his feet. A flash of ice, a flash of fire, a bursting gush of blood, went Powerful contrast. over him, and then he stood transfixed and thrilling. A step mounted the stair slowly and steadily, and Approach of moral crisis. presently a hand was laid upon the knob, and the lock clicked, and the door opened.
40. As he sat there, both focused and distracted, he was suddenly jolted to his feet. A rush of cold, then heat, followed by a surge of adrenaline, washed over him, and he stood frozen and exhilarated. A footstep climbed the stairs slowly and deliberately, and soon a hand reached for the doorknob, the lock clicked, and the door swung open.
41. Fear held Markheim in a vice. What to expect he knew not, whether the dead man walking, or the official ministers of human justice, or some chance witness blindly stumbling in to consign him to the gallows. But when a face was thrust [Pg 412] into the aperture, glanced round the room, looked at him, nodded and smiled as if in friendly recognition, Here is a real though unrecognized moral crisis. Fear eventually leads to his moral triumph. and then withdrew again, and the door closed behind it, his fear broke loose from his control in a hoarse cry. At the sound of this the visitant returned.
41. Fear gripped Markheim tightly. He had no idea what was coming—whether it would be the dead man rising, the official agents of justice, or some random passerby unknowingly walking in to send him to the gallows. But when a face appeared in the opening, scanned the room, looked at him, nodded, and smiled as if to acknowledge him in a friendly way, [Pg 412] then withdrew, with the door closing behind it, his fear erupted beyond his control in a hoarse cry. At the sound of this, the visitor came back.
42. “Did you call me?” he asked, pleasantly, and with that he entered the room and closed the door behind him.
42. “Did you call me?” he asked, friendly as he stepped into the room and shut the door behind him.
43. Markheim stood and gazed at him with all his eyes. Perhaps there was a film upon his sight, but the outlines of the newcomer seemed to change and waver like those of the idols in the wavering candle-light of the shop; and at times he thought he knew him; and at times he thought he bore a likeness to himself;This states the problem. and always, like a lump of living terror, there lay in his bosom the conviction that this thing was not of the earth and not of God.
43. Markheim stood and looked at him with all his attention. Maybe there was a haze in his vision, but the features of the newcomer seemed to shift and blur like the figures in the flickering candlelight of the shop; sometimes he thought he recognized him, and other times he felt he resembled himself; This outlines the issue. and always, like a weight of pure fear, there lay in his chest the belief that this being was neither of this world nor of God.
44. And yet the creature had a strange air of the common-place, as he stood looking on Markheim with a smile; and when he added: “You are looking for the money, I believe?” it was in the tones of everyday politeness.
44. And yet the creature had a strange vibe of ordinary familiarity as he stood there watching Markheim with a smile. When he added, “You’re looking for the money, I believe?” it was in a tone of everyday politeness.
45. Markheim made no answer.
Markheim didn't respond.
46. “I should warn you,” resumed the other, “that the maid has left her sweetheart earlier than usual and will soon be here. If Mr. Markheim be found in this house, I need not describe to him the consequences.”
46. “I should warn you,” the other continued, “that the maid has left her boyfriend earlier than usual and will be here soon. If Mr. Markheim is found in this house, I don’t need to explain the consequences to him.”
[Pg 413]
[Pg 413]
47. “You know me?” cried the murderer.
47. "You know me?" shouted the killer.
48. The visitor smiled. “You have long been a favorite of mine,” he said; “and I have long observed and often sought to help you.”
48. The visitor smiled. “You’ve been one of my favorites for a long time,” he said; “and I’ve watched you closely and often tried to help you.”
49. “What are you?” cried Markheim: “the devil?”
49. “What are you?” shouted Markheim. “The devil?”
50. “What I may be,” returned the other, “cannot affect the service I propose to render you.”
50. “Who I might be,” the other replied, “won't change the help I'm offering you.”
51. “It can,” cried Markheim; “it does! Be helped by you? No, never; not by you! You do not know me yet, thank God, you do not know me!”
51. “It can,” yelled Markheim; “it does! Get help from you? No, never; not from you! You don’t know me yet, thank God, you don’t know me!”
52. “I know you,” replied the visitant, with a sort of kind severity or rather firmness. “I know you to the soul.”
52. “I know you,” the visitor replied, with a kind of sternness or perhaps just firmness. “I know you to the core.”
53. “Know me!” cried Markheim. “Who can do so? My life is but a travesty and slander on myself. I have lived to belie my nature. All men do; all men are better than this disguise that grows about and stifles them. You see each dragged away by life, like one whom bravos have seized and muffled in a cloak. If they had their own control—if you could see their faces, they would be altogether different, they would shine out for heroes and saints! I am worse than most; myself is more overlaid; my excuse is known to me and God. But, had I the time, I could disclose myself.”
53. “Know me!” shouted Markheim. “Who can truly know me? My life is just a mockery and an insult to who I really am. I've lived to go against my true nature. Everyone does; everyone is better than the mask they wear that chokes them. Look at each person dragged through life, like someone who's been grabbed by thugs and wrapped in a cloak. If they had control over themselves—if you could see their true faces, they would look completely different, shining like heroes and saints! I'm worse than most; my true self is even more buried. My reason for this is known only to me and God. But if I had the time, I could show you who I really am.”
54. “To me?” inquired the visitant.
54. "To me?" the visitor asked.
[Pg 414]
[Pg 414]
55. “To you before all,” returned the murderer. “I supposed you were intelligent. I thought—since you exist—you would prove a reader of the heart. And yet you would propose to judge me by my acts!Seek a cause for such reasoning. Think of it; my acts! I was born and I have lived in a land of giants; giants have dragged me by the wrists since I was born out of my mother—the giants of circumstance. And you would judge me by my acts! But can you not look within? Can you not understand that evil is hateful to me? Can you not see within me the clear writing of conscience, never blurred by any willful sophistry, although too often disregarded? Can you not read me for a thing that surely must be common as humanity—the unwilling sinner?”
55. “To you before anyone else,” replied the murderer. “I thought you were smart. I figured—since you’re here—you’d be able to see into the heart. And yet you want to judge me based on my actions!Look for a reason behind that way of thinking. Think about it; my actions! I was born and have lived in a land of giants; giants have pulled me by the wrists since I came out of my mother—the giants of circumstance. And you want to judge me by my actions! But can't you look inside? Can’t you understand that evil disgusts me?
56. “All this is very feelingly expressed,” was the reply. “But it regards me not. These points of consistency are beyond my province, and I care not in the least by what compulsion you may have been dragged away, so as you are but carried in the right direction. But time flies;Contrast. the servant delays, looking in the faces of the crowd and at the pictures on the hoardings, but still she keeps moving nearer; and remember, it is as if the gallows itself was striding toward you through the Christmas streets! Minor Moral Crisis.Shall I help you; I, who know all? Shall I tell you where to find the money?”
56. “This is all very emotionally expressed,” was the reply. “But it doesn’t concern me. These matters of consistency are outside my scope, and I really don’t care at all about the reasons you might have been forced away, as long as you’re headed in the right direction. But time is running out; Contrast. the servant is hesitating, looking at the faces in the crowd and the ads on the billboards, but she keeps moving closer; and remember, it’s as if the gallows are walking toward you through the holiday streets! Small Moral Dilemma. Should I help you; I, who know everything? Should I tell you where to find the money?”
[Pg 415]
[Pg 415]
57. “For what price?” asked Markheim.
57. “For what price?” Markheim asked.
58. “I offer you the service for a Christmas gift,” returned the other.
58. “I’m giving you my service as a Christmas gift,” replied the other.
59. Markheim could not refrain from smiling with a kind of bitter triumph. “No,” said he, “I will take nothing at your hands; if I were dying of thirst, and it was your hand that put the pitcher to my lips, I should find the courage to refuse. It may be credulous, but I will do nothing to commit myself to evil.”
59. Markheim couldn't help but smile with a sort of bitter triumph. “No,” he said, “I won’t take anything from you; even if I were dying of thirst and it was your hand that brought the pitcher to my lips, I would find the strength to refuse. It may be naive, but I refuse to do anything that would tie me to evil.”
60. “I have no objection to a death-bed repentance,” observed the visitant.
60. “I don’t mind a last-minute change of heart,” said the guest.
61. “Because you disbelieve their efficacy!” Markheim cried.
61. “Because you don't believe in their effectiveness!” Markheim shouted.
62. “I do not say so,” returned the other; “but I look on these things from a different side, and when the life is done my interest falls. Key.The man has lived to serve me, to spread black looks under color of religion, or to sow tares in the wheat-field, as you do, in a course of weak compliance with desire.Is this irony? Now that he draws so near to his deliverance, he can add but one act of service—to repent, to die smiling, and thus to build up in confidence and hope the more timorous of my surviving followers. I am not so hard a master. Try me. Accept my help. Please yourself in life as you have done hitherto; please yourself more amply, spread your elbows at the board; and when the night begins to fall and the curtains to be [Pg 416] drawn, I tell you, for your greater comfort, that you will find it even easy to compound your quarrel with your conscience, and to make a truckling peace with God. I came but now from such a death bed, and the room was full of sincere mourners, listening to the man’s last words: and when I looked into that face, which had been set as a flint against mercy, I found it smiling with hope.”
62. “I’m not saying that,” the other replied; “I just see things differently, and when life is over, my interest fades. Key.This man has lived to serve me, to cast dark looks disguised as religion, or to sow weeds in the wheat-field, like you do, by weakly giving in to desire.Is this ironic? Now that he’s so close to his release, he can only do one more thing—to repent, to die with a smile, and in doing so, to uplift the more fearful of my remaining followers with confidence and hope. I'm not such a tough master. Give me a chance. Accept my help. Enjoy life as you have been; indulge yourself even more, stretch your arms at the table; and when night falls and the curtains start to close, I promise you’ll find it surprisingly easy to settle your differences with your conscience and make peace with God. I just came from such a deathbed, and the room was full of genuinely grieving people listening to the man’s last words. When I looked at that face, which had been hard as stone against mercy, I found it smiling with hope.”
63. “And do you, then, suppose me such a creature?” asked Markheim. “Do you think I have no more generous aspirations than to sin, and sin, and sin, and, at last, sneak into heaven? My heart rises at the thought. Is this, then, your experience of mankind? or is it because you find me with red hands that you presume such baseness? and is this crime of murder indeed so impious as to dry up the very springs of good?”
63. “So, do you really think I'm that kind of person?” Markheim asked. “Do you believe I have no higher goals than to keep on sinning and then, in the end, just sneak into heaven? The thought disgusts me. Is this really how you see humanity? Or do you assume I'm vile just because my hands are stained with blood? Is this act of murder so wicked that it completely destroys any trace of goodness?”
64. “Murder is to me no special category,” replied the other. “All sins are murder, even as all life is war. I behold your race, like starving mariners on a raft, plucking crusts out of the hands of famine and feeding on each other’s lives.Note the detached attitude. I follow sins beyond the moment of their acting; I find in all that the last consequence is death; and to my eyes, the pretty maid who thwarts her mother with such taking graces on a question of a ball, drips no less visibly with human gore than such a murderer as yourself.Note paradox. Do I say [Pg 417] that I follow sins? I follow virtues also; they differ not by the thickness of a nail, they are both scythes for the reaping angel of Death. Evil, for which I live, consists not in action but in character. The bad man is dear to me; not the bad act, whose fruits, if we could follow them far enough down the hurtling cataract of the ages, might yet be found more blessed than those of the rarest virtues. And it is not because you have killed a dealer, but because you are Markheim, that I offered to forward your escape.”
64. "To me, murder isn’t a special category," the other replied. "All sins are like murder, just as all life is a battle. I see your kind as starving sailors on a raft, grabbing scraps from the grip of starvation and feeding on each other's lives.Notice the detached vibe. I look at sins beyond the moment they happen; I find that in the end, they all lead to death. To me, the charming girl who defies her mother with such delightful grace over a dance is just as stained with human blood as a murderer like you.Note the paradox. Do I say I follow sins? I follow virtues too; they aren’t different by much, both are tools for the reaper Angel of Death. The evil for which I exist isn’t about actions but about character. I care for the bad person, not the bad deed, whose outcomes, if we could trace them far enough down the turbulent river of time, might turn out to be more valuable than the rarest virtues. And it's not because you’ve killed a dealer, but because you are Markheim, that I offered to help you escape."
65. “I will lay my heart open to you,” answered Markheim. “This crime on which you find me is my last. On my way to it I have learned many lessons; itself is a lesson, a momentous lesson. An unusual expression.Hitherto I have been driven with revolt to what I would not; I was a bond-slave to poverty, driven and scourged. There are robust virtues that can stand in these temptations; mine was not so:Note use of “of.” I had a thirst of pleasure. But to-day, and out of this deed, I pluck both warning and riches—both the power and a fresh resolve to be myself. I become in all things a free actor in the world; Could that have been?I begin to see myself all changed, these hands the agents of good, this heart at peace. Something comes over me out of the past; something of what I have dreamed on Sabbath evenings to the sound of the church organ, of what I forecast when I shed tears over[Pg 418] noble books, or talked, an innocent child, with my mother. There lies my life; I have wandered a few years, but now I see once more my city of destination.”
65. “I will open my heart to you,” Markheim replied. “This crime that you've caught me in is my last. On my way here, I’ve learned many lessons; this moment itself is a significant lesson. A strange expression. Until now, I've been pushed into things I didn’t want to do; I was enslaved by poverty, forced and beaten down. There are strong virtues that can withstand these temptations; mine wasn’t one of them:Sure! Please provide the text you'd like me to modernize. I had a craving for pleasure. But today, from this act, I take both a warning and a treasure—both the strength and a new determination to be myself. I become a free actor in the world in all things; Could that be? I begin to see myself completely changed, these hands as instruments of good, this heart at peace. Something from my past washes over me; something like what I imagined on Sunday evenings while listening to the church organ, or what I pictured when I cried over[Pg 418] noble books, or when I talked, as an innocent child, with my mother. That’s where my life lies; I’ve wandered for a few years, but now I can see my destination city once again.”
66. “You are to use this money on the Stock Exchange, I think?” remarked the visitor; “and there, if I mistake not, you have already lost some thousands?”
66. “You’re planning to use this money on the Stock Exchange, right?” the visitor remarked. “And there, if I’m not mistaken, you’ve already lost quite a bit?”
67. “Ah,” said Markheim, “but this time I have a sure thing.”
67. “Ah,” said Markheim, “but this time I know I've got it guaranteed.”
68. “This time, again, you will lose,” replied the visitor, quietly.
68. “This time, you’re going to lose again,” the visitor replied calmly.
69. “Ah, but I keep back the half!” cried Markheim.
69. “Oh, but I hold back the half!” shouted Markheim.
70. “That also you will lose,” said the other.
70. "You’ll lose that too," said the other.
71. The sweat started upon Markheim’s brow. “Well, then, what matter?” he exclaimed. “Say it be lost, say I am plunged again in poverty, shall one part of me, and that the worse, continue until the end to override the better? Evil and good run strong in me, haling me both ways. I do not love the one thing, Self-deception still struggling.I love all. I can conceive great deeds, renunciations, martyrdoms; and though I be fallen to such a crime as murder, pity is no stranger to my thoughts. I pity the poor; who knows their trials better than myself? I pity and help them; I prize love, I love honest laughter; there is no good thing nor true thing on earth but I love it from my heart. And are my vices only to direct my life, and my virtues to lie without[Pg 419] effect, like some passive lumber of the mind? Not so; good, also, is a spring of acts.”
71. Sweat started to bead on Markheim's forehead. “Well, what’s the difference?” he exclaimed. “If it’s lost, if I’m thrown back into poverty, should one part of me, and the worst part, continue to dominate the better one until the end? Evil and good are both strong within me, pulling me in different directions. I don’t just love one thing, Self-deception still a struggle.I love everything. I can imagine great deeds, sacrifices, acts of heroism; and even though I’ve sunk to such a crime as murder, pity isn’t foreign to my thoughts. I feel for the poor; who understands their struggles better than I do? I feel for them and help them; I value love, I enjoy genuine laughter; there isn't a good or true thing on this earth that I don’t love wholeheartedly. Are my vices the only things that shape my existence, while my virtues just sit idle, like useless clutter in my mind? Not at all; good is also a source of action.”
72. But the visitant raised his finger. “For six-and-thirty years that you have been in this world,” said he, “through many changes of fortune and varieties of humor, I have watched you steadily fall. Here the story is plainly didactic.Fifteen years ago you would have started at a theft. Three years back you would have blenched at the name of murder. Is there any crime, is there any cruelty or meanness, from which you still recoil?—five years from now I shall detect you in the fact! Downward, downward, lies your way; nor can anything but death avail to stop you.”
72. But the visitor raised his finger. “For thirty-six years you’ve been in this world,” he said, “through many ups and downs and different moods, I’ve watched you steadily decline. The story is clearly educational here. Fifteen years ago, you would have flinched at the idea of stealing. Three years ago, you would have recoiled at the thought of murder. Is there any crime, any cruelty or meanness, that still makes you hesitate?—five years from now, I’ll catch you in the act! Your path leads downward, and nothing but death can stop you.”
73. “It is true,” Markheim said, huskily, “I have in some degree complied with evil. But it is so with all: the very saints, in the mere exercise of living, grow less dainty, and take on the tone of their surroundings.”
73. “It’s true,” Markheim said, in a rough voice, “I have somewhat given in to evil. But that’s how it is for everyone: even the saints, just by living their lives, become less refined and start to adopt the attitude of the world around them.”
74. “I will propound to you one simple question,” said the other; “and as you answer, I shall read to you your moral horoscope. You have grown in many things more lax; possibly you do right to be so; and at any account, it is the same with all men. But granting that, are you in any one particular, however trifling, more difficult to please with your own conduct, or do you go in all things with a looser rein?”
74. “I’m going to ask you one simple question,” said the other; “and as you answer, I’ll read your moral horoscope. You’ve become more relaxed in many ways; maybe that’s okay; at least, it’s the same for everyone. But considering that, are you in any one area, no matter how small, harder to satisfy with your own actions, or do you just let everything slide?”
Markheim at last sees himself.
75. “In any one?” repeated Markheim,[Pg 420] with an anguish of consideration. “No,” he added, with despair, “in none! I have gone down in all.”
75. “In any one?” Markheim repeated,[Pg 420] with a deep sense of anguish. “No,” he added, feeling despair, “in none! I have failed in all.”
76. “Then,” said the visitor, “content yourself with what you are, for you will never change; and the words of your part on this stage are irrevocably written down.”
76. “Then,” said the visitor, “be satisfied with who you are, because you will never change; and the lines you have to say on this stage are permanently set.”
77. Markheim stood for a long while silent, and indeed it was the visitor who first broke the silence. “That being so,” he said, “shall I show you the money?”
77. Markheim stood there in silence for a long time, and it was actually the visitor who spoke up first. "If that's the case," he said, "should I show you the money?"
78. “And grace?” cried Markheim.
“And grace?” shouted Markheim.
79. “Have you not tried it?” returned the other. “Two or three years ago, did I not see you on the platform of revival meetings, and was not your voice the loudest in the hymn?”
79. “Haven’t you tried it?” replied the other. “A couple of years ago, didn’t I see you on the platform at revival meetings, and wasn’t your voice the loudest in the hymn?”
80. “It is true,” said Markheim; “and I see clearly what remains for me by way of duty. I thank you for these lessons from my soul: my eyes are opened, and I behold myself at last for what I am.”
80. “It’s true,” Markheim said; “and I can clearly see what my duty is now. I appreciate these insights into my soul: my eyes are opened, and I finally see myself for who I really am.”
81. At this moment, the sharp note of the door-bell rang through the house; and the visitant, as though this were some concerted signal for which he had been waiting, changed at once in his demeanor.
81. At that moment, the sharp sound of the doorbell echoed through the house; and the visitor, as if this were some planned signal he had been waiting for, immediately changed his behavior.
Full Moral Crisis.
Complete Ethical Breakdown.
Physical Resultant Crisis.
Physical Outcome Crisis.
82. “The maid!” he cried. “She has returned, as I forewarned you, and there is now before you one more difficult passage. Her master, you must say, is ill; you must let her in, with an assured but rather [Pg 421] serious countenance—no smiles, no overacting, and I promise you success!Final test. Once the girl within, and the door closed, the same dexterity that has already rid you of the dealer will relieve you of this last danger in your path. Thenceforward you have the whole evening—the whole night, if needful—to ransack the treasures of the house and to make good your safety. This is help that comes to you with the mask of danger. Up!” he cried: “up, friend; your life hangs trembling in the scales; up, and act!”
82. “The maid!” he shouted. “She has come back, just like I warned you, and now you have one more tricky situation to handle. You must say her master is sick; let her in with a confident but serious expression—no smiling, no overacting, and I promise you’ll succeed!Final exam. Once she’s inside and the door is shut, the same skill that got rid of the dealer will help you get through this last risk. From then on, you’ll have the whole evening—and even the whole night, if necessary—to search the treasures of the house and secure your safety. This is help that arrives disguised as danger. Come on!” he urged. “Get up, friend; your life is hanging by a thread; get up and take action!”
83. Markheim steadily regarded his counsellor. “If I be condemned to evil acts,” he said, “there is still one door of freedom open—I can cease from action. If my life be an ill thing, I can lay it down. Though I be, as you say truly, at the beck of every small temptation, I can yet, by one decisive gesture, place myself beyond the reach of all. My love of good is damned to barrenness; it may, and let it, be! But I have still my hatred of evil; and from that, to your galling disappointment, you shall see that I can draw both energy and courage.”
83. Markheim looked steadily at his advisor. “If I’m doomed to do bad things,” he said, “there’s still one way to be free—I can stop acting. If my life is worthless, I can end it. Even though, as you rightly say, I’m at the mercy of every little temptation, I can, with one decisive move, put myself out of reach of it all. My love for good may be stuck in emptiness; so be it! But I still have my hatred for evil, and from that, to your frustrating disappointment, you’ll see that I can find both energy and courage.”
84. The features of the visitor began to undergo a wonderful and lovely change; they brightened and softened with a tender triumph; and, even as they brightened, faded and dislimned. But Markheim did not pause to watch or understand the transformation. He opened the door and went downstairs very slowly, thinking to himself. His past went soberly before him; he beheld it as it was, ugly and strenuous like a dream, random as chance-medley—a scene of defeat. Life, as he thus reviewed it, tempted him no longer; but on the further side he perceived a quiet haven for his bark. He paused in the passage, and looked into the shop, where the candle still burned by the dead body. It was strangely silent. Thoughts of the dealer swarmed into his mind, as he stood gazing. And then the bell once more broke out into impatient clamor.
84. The visitor's features began to change in a beautiful and striking way; they became brighter and softer, filled with a tender triumph; and as they brightened, they also seemed to fade and blur. But Markheim didn't stop to observe or understand the transformation. He opened the door and walked slowly downstairs, lost in thought. His past played out before him like a somber dream, messy and chaotic—a scene of defeat. As he reflected on his life, it no longer tempted him; instead, he saw a quiet refuge on the other side for his journey. He paused in the hallway and looked into the shop, where the candle continued to flicker by the dead body. It was eerily silent. Thoughts of the dealer flooded his mind as he stood staring. And then the bell rang out again in an impatient clamor.
85. He confronted the maid upon the threshold with something like a smile.
85. He faced the maid at the door with something resembling a smile.
86. “You had better go for the police,” said he: “I have killed your master.”
86. “You should call the police,” he said, “I’ve killed your boss.”
[Pg 422]
[Pg 422]
MORRISON AND HIS WRITINGS
Arthur Morrison was born in Kent, England, in 1863. After some experience as a clerk in the civil service, as the secretary of a charity trust in the East End of London, and as a journalist on the editorial staff of an evening paper, he settled down definitely to his career as novelist and writer on oriental art. He is best known as a journalist, however, and his familiarity with the East End has largely contributed to his success in depicting the sordid life of London’s “mean streets,” as the “remorseless realism” of his pictures testify. Mr. Morrison’s[Pg 423] literary work was in the nature of prose and verse panegyrizing bicycles and bicycling. His principal works, apart from several plays and magazine contributions, are Tales of Mean Streets; the several Martin Hewitt (detective) books; A Child of the Jago; To London Town; The Hole in the Wall; The Red Triangle; The Green Eye of Goona (published in America as The Green Diamond); and The Painters of Japan.
Arthur Morrison was born in Kent, England, in 1863. After gaining some experience as a clerk in the civil service, serving as the secretary of a charity trust in the East End of London, and working as a journalist on the editorial staff of an evening paper, he committed fully to his career as a novelist and writer on oriental art. However, he is best known as a journalist, and his knowledge of the East End has greatly influenced his ability to portray the gritty life of London’s “mean streets,” as evidenced by the “unflinching realism” of his works. Mr. Morrison’s[Pg 423] literary contributions included prose and verse celebrating bicycles and cycling. His main works, aside from several plays and magazine contributions, are Tales of Mean Streets; the various Martin Hewitt (detective) books; A Child of the Jago; To London Town; The Hole in the Wall; The Red Triangle; The Green Eye of Goona (published in America as The Green Diamond); and The Painters of Japan.
Mr. Morrison’s best fiction is not large in bulk, for his detective stories are surpassed both in merit and in popular appeal by more than one writer on similar themes; but in his Tales of Mean Streets, which contains the appended study, “On the Stairs,” he has attained a compressed power equalled only by the French realists and scarcely surpassed even by them. He has brought the art of suggestion to a high pass, his swiftness and firmness of delineation are equally effective, and though his subjects are sordid and often depressing they live before us as real folk.
Mr. Morrison’s best fiction isn't lengthy, as his detective stories are outshined in quality and popularity by several other writers tackling similar themes; however, in his Tales of Mean Streets, which includes the additional study “On the Stairs,” he has achieved a concentrated power that matches that of the French realists and is rarely exceeded even by them. He has elevated the art of suggestion to a high level, and his quick and precise character portrayals are equally impactful. Although his subjects are grim and often disheartening, they come to life around us as real people.
The introduction to Tales of Mean Streets appeared in Macmillan’s Magazine in October, 1891, where it was called simply, “A Street.” This sketch attracted the attention of Mr. W. E. Henley, who gave the young writer the benefit of his own knowledge and criticism; and it is to Henley and to Walter Besant that Mr. Morrison makes special acknowledgment for help in the technicalities and mechanism of his tales. Most of these Tales of Mean Streets appeared in the National Observer (while Henley was the editor), and a few in the Pall Mall Budget.—Book Buyer (London), vol. 12.
The introduction to Tales of Mean Streets was published in Macmillan’s Magazine in October 1891, where it was simply titled, “A Street.” This piece caught the attention of Mr. W. E. Henley, who shared his insights and critiques with the young writer; Mr. Morrison specifically credits Henley and Walter Besant for their assistance with the technical aspects and structure of his stories. Most of these Tales of Mean Streets were featured in the National Observer (while Henley was the editor), and a few appeared in the Pall Mall Budget.—Book Buyer (London), vol. 12.
If the modern novel about the slums, such as novels of Mr. Arthur Morrison, or the exceedingly able novels of Mr. Somerset[Pg 424] Maugham, are intended to be sensational, I can only say that that is a noble and reasonable object, and that they attain it.... It may be ... it is necessary to have in our fiction the image of the horrible and hairy East-ender, merely to keep alive in us a fearful and childlike wonder at external peculiarities.... To summarize, our slum fiction is quite defensible as æsthetic fiction; it is not defensible as spiritual fact.—Gilbert K. Chesterton, Heretics.
If modern novels about the slums, like those by Mr. Arthur Morrison or the very skilled novels by Mr. Somerset Maugham, are meant to be sensational, then I can only say that's a noble and reasonable goal, and they achieve it. It may be... it is necessary to include in our stories the image of the horrible and rough East-ender, just to keep alive in us a fearful and childlike curiosity about strange realities. To summarize, our slum fiction can be defended as aesthetic literature; it cannot be defended as spiritual truth.—Gilbert K. Chesterton, Heretics.
Ever seeking the clean-cut, picturesque phrase and the vivid word, he produced a very striking picture of the East End. But, nevertheless, it was not quite satisfactory and convincing. Human nature does not alter so much with conditions as he seems to think. A little less or a little more morality does not affect its elements.... Mr. Morrison’s strongest gift in writing is a cynicism that is almost brutal. With it he elaborates the features of all his characters till the impression is produced that one savage, hideous, ugly coster and one gaudy-feathered, bedizened “Jonah” have acted as models for all his studies of Jagodom. Moreover, his success has been achieved in pictures of the brutal.—Academy (London), vol. 52.
Always striving for the neat, charming phrase and the vibrant word, he created a very striking depiction of the East End. However, it still fell short of being fully convincing. Human nature doesn’t change as much with circumstances as he seems to believe. A little less or a little more morality doesn’t alter its core elements... Mr. Morrison’s greatest strength in writing is a cynicism that borders on brutal. With this, he exaggerates the traits of all his characters until it feels like only one savage, grotesque coster and one flashy, over-the-top "Jonah" served as models for all his portrayals of Jagodom. Additionally, his success has been rooted in depictions of the brutal.—Academy (London), vol. 52.
The “mean streets” are streets in London.... [They] have found in Arthur Morrison an interpreter who lifts them out of their meanness upon the plane of a just claim to human sympathy. He lets us see the relief. Bill Napper, the drunken kerb-whacker, come into property and defending it against the rascally labor agitator, Scuddy Lond, mixing religious fervor and till-tapping with entire sincerity, Simmons and Ford, victims of their joint wife’s “jore” and mania for trouser-making, even the Anarchists of the Red Cow group, appeal to us with a sense almost of kinship because we feel that the figures are real. They are capital character-studies besides. Dickens never made a finer than the thief Scuddy Lond, or than Billy Chope.... The art of these stories seems flawless. Mr. Morrison’s gift amounts to genius.—Jacob Riis, Romances of “The Other Half,” The Book Buyer, vol. 12.
The "mean streets" refer to streets in London.... [They] have found an interpreter in Arthur Morrison who elevates them from their bleakness to a place deserving of human sympathy. He shows us the relief. Bill Napper, the drunken curb-stomper, comes into property and defends it against the shady labor activist, Scuddy Lond, who mixes sincere religious fervor with money-grabbing, Simmons and Ford, victims of their shared wife's obsession and trouser-making mania, even the Anarchists of the Red Cow group, all resonate with us almost as if they were family because we sense that these characters are real. They are excellent character studies as well. Dickens never created a character finer than the thief Scuddy Lond or Billy Chope.... The artistry of these stories seems perfect. Mr. Morrison's talent is nothing short of genius.—Jacob Riis, Romances of “The Other Half,” The Book Buyer, vol. 12.
FURTHER REFERENCES FOR READING ON MORRISON
FURTHER REFERENCES FOR READING ON MORRISON
Methods of Arthur Morrison, Academy, vol. 50, 531; His Work, Academy, vol. 52, 493; Blackwood’s Magazine, vol. 163, 734; How to Write a Short Story, Bookman, vol. 5, 45; Morrison as a Realist, H. D. Traill, Fortnightly, vol. 67, 65; Reply, A. Morrison, New Review, vol. 16, 326; Child of the Jago: True to Facts, A. O. Jay, Fortnightly, vol. 67, 324.
Methods of Arthur Morrison, Academy, vol. 50, 531; His Work, Academy, vol. 52, 493; Blackwood’s Magazine, vol. 163, 734; How to Write a Short Story, Bookman, vol. 5, 45; Morrison as a Realist, H. D. Traill, Fortnightly, vol. 67, 65; Reply, A. Morrison, New Review, vol. 16, 326; Child of the Jago: True to Facts, A. O. Jay, Fortnightly, vol. 67, 324.
[Pg 425]
[Pg 425]
FOR ANALYSIS
FOR ANALYSIS
ON THE STAIRS
BY ARTHUR MORRISON
BY ARTHUR MORRISON
The house had been “genteel.” When trade was prospering in the East End, and the ship-fitter or block-maker thought it no shame to live in the parish where his workshop lay, such a master had lived here. Now, it was a tall, solid, well-bricked, ugly house, grimy and paintless in the joinery, cracked and patched in the windows: where the front door stood open all day long; and the womankind sat on the steps, talking of sickness and deaths and the cost of things; and treacherous holes lurked in the carpet of road-soil on the stairs and in the passage. For when eight families live in a house, nobody buys a door-mat, and[Pg 426] the street was one of those streets that are always muddy. It smelt, too, of many things, none of them pleasant (one was fried fish); but for all that it was not a slum.
The house had once been “genteel.” When business was thriving in the East End, and ship-fitters or block-makers didn't think twice about living in the same area as their workshops, a master had lived here. Now, it was a tall, sturdy, unattractive house, dirty and unpainted around the edges, cracked and patched at the windows. The front door stood open all day; the women sat on the steps, chatting about sickness, deaths, and the cost of living. Deceptive holes were hidden in the dirt-covered carpet on the stairs and in the hallway. When eight families share a house, no one buys a doormat, and the street was one of those that were always muddy. It also smelled of many things, none of them pleasant (one of them being fried fish); but despite all that, it wasn’t a slum.
2. Three flights up, a gaunt woman with bare forearms stayed on her way to listen at a door which, opening, let out a warm, fetid waft from a close sick-room. A bent and tottering old woman stood on the threshold, holding the door behind her.
2. Three flights up, a thin woman with bare forearms paused on her way to listen at a door that, when opened, released a warm, unpleasant smell from a cramped sickroom. A hunched and shaky old woman stood in the doorway, holding the door behind her.
3. “An’ is 'e no better now, Mrs. Curtis?” the gaunt woman asked, with a nod at the opening.
3. “Is he any better now, Mrs. Curtis?” the thin woman asked, nodding towards the opening.
4. The old woman shook her head, and pulled the door closer. Her jaw waggled loosely in her withered chaps: “Nor won’t be; till 'e’s gone.” Then after a certain pause, “'E’s goin’,” she said.
4. The old woman shook her head and pulled the door shut. Her jaw moved loosely in her wrinkled cheeks: “No, it won't be; until he's gone.” Then after a moment, she said, “He's leaving.”
5. “Don’t doctor give no 'ope?”
5. “Doesn't the doctor give any hope?”
6. “Lor’ bless ye, I don’t want to ast no doctors,” Mrs. Curtis replied, with something not unlike a chuckle. “I’ve seed too many on ’em. The boy’s a-goin’, fast; I can see that. An’ then”—she gave the handle another tug, and whispered—“he’s been called.” She nodded amain; “Three seprit knocks at the bed-head las’ night; an’ I know what that means!”
6. “Oh bless you, I don’t want to ask any doctors,” Mrs. Curtis replied, with a chuckle. “I’ve seen too many of them. The boy's on his way out; I can see that. And then”—she gave the handle another tug and whispered—“he's been called.” She nodded vigorously; “Three secret knocks at the head of the bed last night; and I know what that means!”
7. The gaunt woman raised her brows, and nodded. “Ah, well,” she said, “we all on us comes to it some day, sooner or later. An’ it’s often a 'appy release.”
7. The thin woman raised her eyebrows and nodded. “Ah, well,” she said, “we all end up facing it someday, sooner or later. And it’s often a happy release.”
8. The two looked into space beyond[Pg 427] each other, the elder with a nod and a croak. Presently the other pursued, “'E’s been a very good son, ain’t 'e?”
8. The two looked into the space beyond[Pg 427] each other, the older one giving a nod and a raspy sound. Soon after, the other asked, “He’s been a really good son, hasn’t he?”
9. “Ay, ay, well enough son to me,” responded the old woman, a little peevishly; “an’ I’ll 'ave ’im put away decent, though there’s on’y the Union for me after. I can do that, thank Gawd!” she added, meditatively, as chin on fist she stared into the thickening dark over the stairs.
9. “Yeah, yeah, he's good enough for me,” replied the old woman, a bit irritably; “and I’ll make sure he gets a proper burial, even if it’s just the Union for me afterward. I can manage that, thank God!” she added, thoughtfully, as she rested her chin on her fist and gazed into the growing darkness over the stairs.
10. “When I lost my pore 'usband,” said the gaunt woman with a certain brightening, “I give ’im a 'ansome funeral. 'E was a Oddfeller, an’ I got twelve pound. I 'ad a oak caufin an’ a open 'earse. There was a kerridge for the fam’ly an’ one for 'is mates—two 'orses each, an’ feathers, an’ mutes; an’ it went the furthest way round to the cimitry. 'Wotever 'appens, Mrs. Manders,’ says the undertaker, ‘you’ll feel as you’ve treated 'im proper; nobody can’t reproach you over that.’ An’ they couldn’t. 'E was a good 'usband to me, an’ I buried ’im respectable.”
10. “When I lost my poor husband,” said the thin woman with a certain brightness, “I gave him a nice funeral. He was a Oddfellow, and I got twelve pounds. I had an oak coffin and a hearse. There was a carriage for the family and one for his friends—two horses each, and feathers, and mourning clothes; and it took the longest route to the cemetery. ‘Whatever happens, Mrs. Manders,’ says the undertaker, ‘you’ll feel like you treated him well; no one can reproach you for that.’ And they couldn’t. He was a good husband to me, and I buried him properly.”
11. The gaunt woman exulted. The old, old story of Manders’s funeral fell upon the other one’s ears with a freshened interest, and she mumbled her gums ruminantly. “Bob’ll 'ave a 'ansome buryin', too,” she said. “I can make it up, with the insurance money, an’ this, an’ that. On’y I dunno about mutes. It’s a expense.”
11. The thin woman was thrilled. The old story about Manders’s funeral caught the other woman's attention with renewed interest, and she mumbled to herself thoughtfully. “Bob's going to have a nice burial too,” she said. “I can cover it with the insurance money and this and that. But I’m not sure about the mute singers. That’s an expense.”
[Pg 428]
[Pg 428]
12. In the East End, when a woman has not enough money to buy a thing much desired, she does not say so in plain words; she says the thing is an “expense,” or a “great expense.” It means the same thing, but it sounds better. Mrs. Curtis had reckoned her resources, and found that mutes would be an “expense.” At a cheap funeral mutes cost half-a-sovereign and their liquor. Mrs. Manders said as much.
12. In the East End, when a woman doesn't have enough money to buy something she really wants, she doesn't just say that outright; she refers to it as an “expense” or a “big expense.” It means the same thing, but it sounds nicer. Mrs. Curtis had assessed her resources and realized that mutes would be an “expense.” At a low-cost funeral, mutes cost half a sovereign and their drinks. Mrs. Manders mentioned as much.
13. “Yus, yus, 'arf-a-sovereign,” the old woman assented. Within, the sick feebly beat the floor with a stick. “I’m a-comin’,” she cried shrilly; “yus, 'arf-a-sovereign, but it’s a lot, an’ I don’t see 'ow I’m to do it—not at present.” She reached for the door-handle again, but stopped and added, by after-thought, “Unless I don’t 'ave no plooms.”
13. "Yes, yes, half a sovereign," the old woman agreed. Inside, the sick person weakly tapped the floor with a stick. "I'm coming," she called out sharply; "yes, half a sovereign, but that's a lot, and I don’t see how I can manage it—not right now." She reached for the door handle again but paused and added, after a moment, "Unless I don't have any plums."
14. “It 'ud be a pity not to 'ave plooms. I 'ad—”
14. “It would be a shame not to have plums. I had—”
15. There were footsteps on the stairs: then a stumble and a testy word. Mrs. Curtis peered over into the gathering dark. “Is it the doctor, sir?” she asked. It was the doctor’s assistant; and Mrs. Manders tramped up to the next landing as the door of the sick-room took him in.
15. There were footsteps on the stairs, followed by a stumble and a sharp word. Mrs. Curtis looked over into the darkening room. “Is that the doctor, sir?” she asked. It was the doctor's assistant, and Mrs. Manders made her way up to the next landing as the door to the sick room closed behind him.
16. For five minutes the stairs were darker than ever. Then the assistant, a very young man, came out again, followed by the old woman with a candle. Mrs. Manders listened in the upper dark. “He’s[Pg 429] sinking fast,” said the assistant. “He must have a stimulant. Dr. Mansell ordered port wine. Where is it?” Mrs. Curtis mumbled dolorously. “I tell you he must have it,” he averred with unprofessional emphasis (his qualification was only a month old). “The man can’t take solid food, and his strength must be kept up somehow. Another day may make all the difference. Is it because you can’t afford it?” “It’s a expense—sich a expense, doctor,” the old woman pleaded. “An’ wot with 'arf-pints o’ milk an’—” She grew inarticulate, and mumbled dismally.
16. For five minutes, the stairs were darker than ever. Then the assistant, a very young man, came out again, followed by the old woman with a candle. Mrs. Manders listened in the upper darkness. “He’s[Pg 429] sinking fast,” said the assistant. “He must have a stimulant. Dr. Mansell ordered port wine. Where is it?” Mrs. Curtis mumbled sadly. “I tell you he must have it,” he insisted with unprofessional emphasis (his qualification was only a month old). “The man can’t take solid food, and he has to keep his strength up somehow. Another day could make all the difference. Is it because you can’t afford it?” “It’s an expense—such an expense, doctor,” the old woman pleaded. “And with half-pints of milk and—” She became inarticulate and mumbled gloomily.
17. “But he must have it, Mrs. Curtis, if it’s your last shilling: it’s the only way. If you mean you absolutely haven’t the money—” and he paused a little awkwardly. He was not a wealthy young man—wealthy young men do not devil for East End doctors—but he was conscious of a certain haul of sixpences at nap the night before; and, being inexperienced, he did not foresee the career of persecution whereon he was entering at his own expense and of his own motion. He produced five shillings: “If you absolutely haven’t the money, why—take this and get a bottle—good: not at a public-house. But mind, at once. He should have had it before.”
17. “But you need to get it, Mrs. Curtis, even if it’s your last coin: it’s the only option. If you really don’t have the money—” and he hesitated a bit awkwardly. He wasn't a rich young man—rich young men don’t work for East End doctors—but he was aware of a certain stash of sixpences he had from playing cards the night before; and, being inexperienced, he didn’t anticipate the ongoing struggle he was stepping into at his own expense and initiative. He pulled out five shillings: “If you truly don’t have the money, then—take this and buy a bottle—something good: not at a pub. But remember, immediately. He should have had it sooner.”
18. It would have interested him, as a matter of coincidence, to know that his principal had been guilty[Pg 430] of the selfsame indiscretion—even the amount was identical—on that landing the day before. But, as Mrs. Curtis said nothing of this, he floundered down the stair and out into the wetter mud, pondering whether or not the beloved son of a Congregational minister might take full credit for a deed of charity on the proceeds of sixpenny nap. But Mrs. Curtis puffed her wrinkles, and shook her head sagaciously as she carried in her candle. From the room came a clink as of money falling into a teapot. And Mrs. Manders went about her business.
18. It would have caught his interest, just by coincidence, to know that his boss had also made the same mistake—even the amount was the same—on that landing the day before. But since Mrs. Curtis didn’t mention it, he stumbled down the stairs and out into the muddy ground, thinking about whether the beloved son of a Congregational minister could really take full credit for an act of charity based on the earnings from a sixpenny nap. Meanwhile, Mrs. Curtis smoothed her wrinkles and shook her head wisely as she brought in her candle. From the room, there was a sound like money dropping into a teapot. And Mrs. Manders went about her business.
19. The door was shut, and the stair a pit of blackness. Twice a lodger passed down, and up and down, and still it did not open. Men and women walked on the lower flights, and out at the door, and in again. From the street a shout or a snatch of laughter floated up the pit. On the pavement footsteps rang crisper and fewer, and from the bottom passage there were sounds of stagger and sprawl. A demented old clock buzzed divers hours at random, and was rebuked every twenty minutes by the regular tread of a policeman on his beat. Finally, somebody shut the street-door with a great bang, and the street was muffled. A key turned inside the door on the landing, but that was all. A feeble light shone for hours along the crack below, and then went out. The crazy old clock went buzzing on, but nothing left that room all night. Nothing that opened the door....
19. The door was closed, and the staircase was a deep black. Twice, a tenant went up and down, and still it didn't open. People walked on the lower steps, out the door, and back in again. From the street, shouts or bits of laughter drifted up the darkness. On the pavement, footsteps echoed more faintly, and from the bottom hallway, there were sounds of stumbling and falling. A crazy old clock buzzed at random times, and every twenty minutes, it was silenced by the steady footsteps of a policeman on his beat. Finally, someone slammed the street door shut, and the street became quiet. A key turned inside the door on the landing, but that was all. A dim light shone for hours underneath the crack, and then it went out. The crazy old clock kept buzzing, but nothing left that room all night. Nothing that opened the door...
20. When next the key turned, it was to Mrs. Manders’s knock, in the full morning; and soon the two women came out on the landing together, Mrs. Curtis with a shapeless clump of bonnet. “Ah, 'e’s a lovely corpse,” said Mrs. Manders. “Like wax. So was my 'usband.”
20. When the key turned again, it was Mrs. Manders knocking in the bright morning, and soon the two women came out onto the landing together, Mrs. Curtis wearing a messy bonnet. “Ah, he's a beautiful corpse,” said Mrs. Manders. “Just like wax. So was my husband.”
21. “I must be stirrin’,” croaked the old woman, “an’ go about the insurance an’ the measurin’ an’ that. There’s lots to do.”
21. “I need to get moving,” croaked the old woman, “and take care of the insurance and the measurements and that. There’s a lot to do.”
22. “Ah, there is. 'Oo are you goin’ to 'ave,—Wilkins? I 'ad Wilkins. Better than Kedge, I think: Kedge’s mutes dresses rusty, an’ their trousis is frayed. If you was thinkin’ of 'avin’ mutes—”
22. “Oh, there is. Who are you going to have, Wilkins? I had Wilkins. Better than Kedge, I think: Kedge’s mutes dress is rusty, and their trousers are frayed. If you were thinking of having mutes—”
23. “Yus, yus,”—with a palsied nodding,—“I’m a-goin’ to 'ave mutes: I can do it respectable, thank Gawd!”
23. “Yes, yes,”—with a shaky nod,—“I’m going to have mutes: I can do it properly, thank God!”
24. “And the plooms?”
"And the plumes?"
25. “Ay, yus, and the plooms too. They ain’t sich a great expense, after all.”
25. “Yeah, sure, and the plums too. They aren’t such a big expense, after all.”
[Pg 431]
[Pg 431]
SUGGESTIVE QUESTIONS FOR STUDY
1. What are the points of similarity between the Character-Study and the Psychological Study?
1. What are the similarities between the Character Study and the Psychological Study?
2. Define (a) Psychology, (b) Realism.
2. Define (a) Psychology, (b) Realism.
3. Does Markheim’s change of heart seem to you to be genuine? Give your reasons.
3. Do you think Markheim's change of heart is real? Share your reasons.
4. Analyze his motives fully.
Analyze his motives thoroughly.
5. Is the supernatural element convincing?
5. Is the supernatural aspect believable?
6. Could conscience produce the same effect as the Visitant?
6. Could conscience have the same impact as the Visitor?
7. What impression did Stevenson seek to convey by “Markheim”?
7. What impression was Stevenson trying to convey through “Markheim”?
8. Fully analyze the thoughts, feelings, and motives of the mother.
8. Thoroughly examine the thoughts, feelings, and motivations of the mother.
9. Can you detect Morrison’s motive in writing “On the Stairs”?
9. Can you identify Morrison’s reason for writing “On the Stairs”?
10. Fully analyze one other psychological study, from any source.
10. Completely analyze another psychological study from any source.
[Pg 432]
[Pg 432]
TEN REPRESENTATIVE PSYCHOLOGICAL STUDIES
“A Coward,” Guy de Maupassant, translated in The Odd Number.
“A Coward,” Guy de Maupassant, translated in The Odd Number.
“Another Gambler,” Paul Bourget, translated in Stories by Foreign Authors.
“Another Gambler,” Paul Bourget, translated in Stories by Foreign Authors.
“La Bretonne,” André Theuriet, translated in Short-Story Masterpieces.
“La Bretonne,” André Theuriet, translated in Short-Story Masterpieces.
“The Song of Death,” Hermann Sudermann, translated in The Indian Lily.
“The Song of Death,” Hermann Sudermann, translated in The Indian Lily.
“The Recovery,” Edith Wharton, in Crucial Instances.
“The Recovery,” Edith Wharton, in Crucial Instances.
“Billy-Boy,” John Luther Long, in volume of same title.
“Billy-Boy,” by John Luther Long, in a book of the same title.
“The Executioner,” Honoré de Balzac, translated in Masterpieces of Fiction.
“The Executioner,” Honoré de Balzac, translated in Masterpieces of Fiction.
“The Revolt of ‘Mother,’” Mary E. Wilkins Freeman, Harper’s Magazine, vol. 81, 553.
“The Revolt of ‘Mother,’” Mary E. Wilkins Freeman, Harper’s Magazine, vol. 81, 553.
“The Lady or the Tiger,” Frank R. Stockton, in volume of same title.
“The Lady or the Tiger,” by Frank R. Stockton, in a volume of the same title.
“The Man Without a Country,” Edward Everett Hale, in Short Story Classics, American.
“The Man Without a Country,” Edward Everett Hale, in Short Story Classics, American.
[Pg 433]
[Pg 433]
BIBLIOGRAPHICAL NOTE
An extended list of books and magazine articles on the short-story will be found on pages 375-378, 426-431 of the present author’s Writing the Short-Story, New York, Hinds, Hayden and Eldredge (1909), xiv+441 pp. Most of the bibliographical references here appended also appear in the revised edition of Writing the Short-Story (1918). Magazine articles have not been included, as they may be found listed in the cumulative periodical indexes. For several years, The Writer’s Monthly, Springfield, Mass., a periodical for literary workers, has printed monthly a list of magazine articles of interest to writers.
An extended list of books and magazine articles on the short story can be found on pages 375-378 and 426-431 of the author’s Writing the Short-Story, New York, Hinds, Hayden, and Eldredge (1909), xiv+441 pp. Most of the bibliographical references included here are also found in the revised edition of Writing the Short-Story (1918). Magazine articles are not included, as they are listed in the cumulative periodical indexes. For several years, The Writer’s Monthly, Springfield, Mass., a magazine for literary workers, has published a monthly list of magazine articles that are of interest to writers.
Notes on the Influence of E. T. A. Hoffman on Edgar Allan Poe, G. Gruener, Modern Language Association of America (1904).
Notes on the Influence of E. T. A. Hoffman on Edgar Allan Poe, G. Gruener, Modern Language Association of America (1904).
How to Write, Charles Sears Baldwin. Macmillan (1906). Chapters on “How to Tell a Story,” and “How to Describe.” Based upon Bible narratives.
How to Write, Charles Sears Baldwin. Macmillan (1906). Chapters on “How to Tell a Story,” and “How to Describe.” Based on Bible narratives.
The Art of the Short-Story, George W. Gerwig. Werner (1909). A brief general study. Out of print.
The Art of the Short-Story, George W. Gerwig. Werner (1909). A short general study. No longer available.
The Short Story in English, Henry Seidel Canby. Holt (1909). An exhaustive examination into the origin and development of the form.
The Short Story in English, Henry Seidel Canby. Holt (1909). A thorough look at the origins and evolution of the form.
A History of Story Telling, Arthur Ransome. Stokes (1909).
A History of Story Telling, Arthur Ransome. Stokes (1909).
Studies in Several Literatures, Harry Thurston Peck. Dodd, Mead (1909). Chapters on “Poe,” and “The Detective Story.”
Studies in Several Literatures, Harry Thurston Peck. Dodd, Mead (1909). Chapters on “Poe” and “The Detective Story.”
The Art of Writing (also issued under the title, The Art of Short Story Writing), George Randolph Chester. The Publishers Syndicate (1910). A collection of brief notes on all phases of the title-subject.
The Art of Writing (also released under the title, The Art of Short Story Writing), George Randolph Chester. The Publishers Syndicate (1910). A collection of short notes on all aspects of the subject.
The Fiction Factory, John Milton Edwards (pseudonym). Editor Co. (1911). “The author tells how he conceived, planned, wrote and sold $100,000 worth of manuscripts.”
The Fiction Factory, John Milton Edwards (pseudonym). Editor Co. (1911). “The author shares how he came up with, organized, wrote, and sold $100,000 worth of manuscripts.”
The Craftsmanship of Writing, Frederic Taber Cooper. Dodd, Mead (1912). These papers appeared serially in The Bookman, New York.
The Craftsmanship of Writing, Frederic Taber Cooper. Dodd, Mead (1912). These papers were published in installments in The Bookman, New York.
The Plot of the Short Story, Henry Albert Phillips. Stanhope-Dodge (1912). The technique and mechanics of plot.
The Plot of the Short Story, Henry Albert Phillips. Stanhope-Dodge (1912). The technique and mechanics of plot.
The American Short Story, C. Alphonso Smith. Ginn (1912). An American reprint of one of the author’s lectures delivered as Roosevelt Professor at the University of Berlin.
The American Short Story, C. Alphonso Smith. Ginn (1912). An American reprint of one of the author's lectures given as Roosevelt Professor at the University of Berlin.
[Pg 434]
[Pg 434]
The Art and Business of Story Writing, W. B. Pitkin. Macmillan (1912).
The Art and Business of Story Writing, W. B. Pitkin. Macmillan (1912).
The American Short Story, Elias Lieberman. Editor Co. (1912).
The American Short Story, Elias Lieberman. Editor Co. (1912).
The Art of Story Writing, J. Berg Esenwein and Mary Davoren Chambers. Home Correspondence School (1913). A study of the shorter fictional forms—the anecdote, fable, parable, tale, sketch, and short-story—with outlines for study and instruction.
The Art of Story Writing, J. Berg Esenwein and Mary Davoren Chambers. Home Correspondence School (1913). A study of shorter fictional forms—the anecdote, fable, parable, tale, sketch, and short story—with outlines for study and instruction.
The Technique of the Mystery Story, Carolyn Wells. Home Correspondence School (1913).
The Technique of the Mystery Story, Carolyn Wells. Home Correspondence School (1913).
Art in Short Story Narration, Henry Albert Phillips. Stanhope-Dodge (1913).
Art in Short Story Narration, Henry Albert Phillips. Stanhope-Dodge (1913).
The Art of Writing, Preface to “The Nigger of the Narcissus,” Joseph Conrad. Doubleday (1914).
The Art of Writing, Preface to “The Nigger of the Narcissus,” Joseph Conrad. Doubleday (1914).
Short Stories in the Making, Robert Wilson Neal. Oxford University Press (1914).
Short Stories in the Making, Robert Wilson Neal. Oxford University Press (1914).
The Author’s Craft, Arnold Bennett. Doran (1914)
The Author’s Craft, Arnold Bennett. Doran (1914)
The Art of the Short Story, Carol Grabo. Scribner (1914).
The Art of the Short Story, Carol Grabo. Scribner (1914).
The Modern Short-Story, Lilian Notestein and Waldo H. Dunn. Barnes (1914).
The Modern Short-Story, Lilian Notestein and Waldo H. Dunn. Barnes (1914).
On the Art of Writing, A. Quiller-Couch. Putnam (1916).
On the Art of Writing, A. Quiller-Couch. Putnam (1916).
The Contemporary Short Story, Harry T. Baker. Heath (1916).
The Contemporary Short Story, Harry T. Baker. Heath (1916).
The Short-Story, Barry Pain. Doran (1916). Reprint of an earlier English edition.
The Short-Story, Barry Pain. Doran (1916). Reprint of an earlier English edition.
The Thirty Six Dramatic Situations, Georges Polti. Editor Co. (1916).
The Thirty Six Dramatic Situations, Georges Polti. Editor Co. (1916).
A Handbook of Story Writing, Blanche Colton Williams. Dodd, Mead (1917).
A Handbook of Story Writing, Blanche Colton Williams. Dodd, Mead (1917).
Children’s Stories and How to Tell Them, J. Berg Esenwein and Marietta Stockard. Home Correspondence School (1917).
Children’s Stories and How to Tell Them, J. Berg Esenwein and Marietta Stockard. Home Correspondence School (1917).
Helps for Student-Writers, Willard E. Hawkins. The Student-Writer Press (1917).
Helps for Student-Writers, Willard E. Hawkins. The Student-Writer Press (1917).
The Technique of Fiction Writing, Robert Saunders Dowst. Editor Co. (1917).
The Technique of Fiction Writing, Robert Saunders Dowst. Editor Co. (1917).
Besides the edited collections of miscellaneous short-stories included in the first edition of Writing the Short-Story, which need not be reproduced here, are the following. In most instances the collections are prefaced by introductory notes by the editors named.
Besides the edited collections of various short stories included in the first edition of Writing the Short-Story, which don’t need to be repeated here, are the following. In most cases, the collections are introduced with notes from the named editors.
The Best American Tales, W. P. Trent and John Bell Henneman. Crowell (1907).
The Best American Tales, W. P. Trent and John Bell Henneman. Crowell (1907).
International Library of Fiction (3 vols.), William Patten. Collier (1910).
International Library of Fiction (3 vols.), William Patten. Collier (1910).
[Pg 435]
[Pg 435]
The Great English Short-Story Writers (2 vols.), William J. and Coningsby W. Dawson. Harper (1910).
The Great English Short-Story Writers (2 vols.), William J. and Coningsby W. Dawson. Harper (1910).
The Lock and Key Library (10 vols.), Julian Hawthorne. This is an expansion of the six-volume edition of Mystery and Detective Stories (6 vols.). Review of Reviews Co. (1912).
The Lock and Key Library (10 vols.), Julian Hawthorne. This is an expansion of the six-volume edition of Mystery and Detective Stories (6 vols.). Review of Reviews Co. (1912).
Short-Story Masterpieces, French (2 vols.), J. Berg Esenwein. Home Correspondence School (1912).
Short-Story Masterpieces, French (2 vols.), J. Berg Esenwein. Home Correspondence School (1912).
Short-Story Masterpieces, Russian (2 vols.), J. Berg Esenwein. Home Correspondence School (1913).
Short-Story Masterpieces, Russian (2 vols.), J. Berg Esenwein. Home Correspondence School (1913).
A Collection of Short Stories, L. A. Pittenger. Macmillan (1913).
A Collection of Short Stories, L. A. Pittenger. Macmillan (1913).
A Study of the Short Story, Henry S. Canby. Holt (1913).
A Study of the Short Story, Henry S. Canby. Holt (1913).
A Book of Short Stories, Stuart P. Sherman. Holt (1914).
A Book of Short Stories, Stuart P. Sherman. Holt (1914).
Types of the Short-Story, Benjamin A. Heydrick. Scott, Foresman (1914).
Types of the Short-Story, Benjamin A. Heydrick. Scott, Foresman (1914).
The Short-Story, E. A. Cross. McClurg (1914).
The Short-Story, E. A. Cross. McClurg (1914).
Modern Short Stories, Margaret Ashmun. Macmillan (1914).
Modern Short Stories, Margaret Ashmun. Macmillan (1914).
Short Stories, Leonard Moulton. Houghton, Mifflin (1915).
Short Stories, Leonard Moulton. Houghton, Mifflin (1915).
Short Stories for High Schools, Rosa M. R. Mikels. Scribner (1915).
Short Stories for High Schools, Rosa M. R. Mikels. Scribner (1915).
Elements of the Short Story, E. E. Hale, Jr., and F. T. Dawson. Holt (1915).
Elements of the Short Story, E. E. Hale, Jr., and F. T. Dawson. Holt (1915).
Short Stories from “Life,” T. L. Masson. Doubleday (1916).
Short Stories from “Life,” T. L. Masson. Doubleday (1916).
Short Stories and Selections, for Use in Secondary Schools, Emilie K. Baker. Macmillan (1916).
Short Stories and Selections, for Use in Secondary Schools, Emilie K. Baker. Macmillan (1916).
Representative Short Stories, Nina Hart and Edna M. Perry. Macmillan (1917).
Representative Short Stories, Nina Hart and Edna M. Perry. Macmillan (1917).
The Best Short Stories of 1915, and The Yearbook of the American Short Story, E. J. O’Brien. Small, Maynard (1916).
The Best Short Stories of 1915, and The Yearbook of the American Short Story, E. J. O’Brien. Small, Maynard (1916).
Similar collections by the same editor have been issued for 1916 and 1917, and others for later years are to follow.
Similar collections by the same editor have been released for 1916 and 1917, and others for subsequent years are on the way.
Atlantic Narratives, Charles Swain Thomas. Atlantic Monthly Press (1918).
Atlantic Narratives, Charles Swain Thomas. Atlantic Monthly Press (1918).
Index to Short Stories. Ina TenEyck Firkins. Wilson.
Index to Short Stories. Ina TenEyck Firkins. Wilson.
[Pg 437]
[Pg 437]
INDEX
In this index, names of authors are printed in small capitals and titles of books in italics; titles of short-stories are enclosed in quotations, and general persons and subjects are in Roman type. It has not seemed necessary to index titles and authors which are merely included in biographical and bibliographical notes.
In this index, authors' names are printed in small capitals and book titles are in italics; short story titles are in quotes, and general people and subjects are in Roman type. It didn’t seem necessary to index titles and authors that are just mentioned in biographical and bibliographical notes.
A
A
Action, 2, 3.
Addison, Joseph, xix.
Adventure (see Action), xvi, 3.
Anecdote, xvi, xvii, xx.
Arabian Nights, xviii.
Action, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.
Addison, Joseph, __A_TAG_PLACEHOLDER_2__
Adventure (see Action), __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__.
Anecdote, __A_TAG_PLACEHOLDER_5__, __A_TAG_PLACEHOLDER_6__, __A_TAG_PLACEHOLDER_7__.
Arabian Nights, __A_TAG_PLACEHOLDER_8__.
B
B
Baldwin, Charles S., xxiv.
Balzac, Honoré de, xx, 134, 253.
Barrie, James M., 133, 215-249.
Barrett, Charles Raymond, xxiii.
Beers, H. A., 300.
Beranger, 320.
Bibliography of Short-Story, xxi, 433.
Bierce, Ambrose, 72.
Boccaccio, xviii;
Decameron, xvii;
Rinaldo, xvii.
Burke, Edmund, 132.
Burton, Richard, 32.
Butler, Ellis Parker, 133.
Charles S. Baldwin, xxiv.
Honoré de Balzac, xx, 134, 253.
Barrie, J.M., 133, 215-249.
Barrett, Charles Raymond, xxiii.
Beers, H.A., 300.
Beranger, 320.
Bibliography of Short-Story, xxi, 433.
Ambrose Bierce, 72.
Boccaccio, xviii;
Decameron, __A_TAG_PLACEHOLDER_0__;
Rinaldo, __A_TAG_PLACEHOLDER_0__.
Edmund Burke, 132.
Richard Burton, 32.
Butler, Ellis Parker, 133.
C
C
Canby, H. S., xxiv, 32, 33, 75, 76, 149, 258, 301, 302.
Characters, 4, 354, 355, 356.
Character Studies, 353-389.[Pg 438]
Chaucer, Geoffrey, xviii,
Canterbury Tales, xvii,
Pardoner’s Tale, xvii.
Chesterton, Gilbert K., 424.
Cody, Sherwin, xxiii.
Comedy, 192.
Conte dévot, xvi, xvii.
Contributory incident, 21, 199.
Coppée, François, 134, 368-388.
“Courting of T’Nowhead’s Bell, The,” 219-249.
Crawford, F. Marion, 72.
Crawford, V. M., 137, 138.
Crisis, xxvi, 355.
Cross, J. W., 252.
Curtis, George William, 70.
Canby, H.S., xxiv, 32, 33, 75, 76, 149, 258, 301, 302.
Characters, 4, 354, 355, 356.
Character Studies, 353-389.[Pg 438]
Geoffrey Chaucer, xviii,
Canterbury Tales, __A_TAG_PLACEHOLDER_0__,
Pardoner's Tale, __A_TAG_PLACEHOLDER_0__.
Gilbert K. Chesterton, 424.
Cody, Sherwin, xxiii.
Comedy, 192.
Conte dévot, xvi, xvii.
Contributory incident, 21, 199.
Coppée, François, 134, 368-388.
“Courting of T’Nowhead’s Bell, The,” 219-249.
Crawford, F. Marion, 72.
Crawford, V. M., 137, 138.
Crisis, xxvi, 355.
Cross, J.W., 252.
George William Curtis, 70.
D
D
E
E
F
F
G
G
H
H
Hamilton, Clayton, 354.
Hammerton, J. A., 218.
Handbook of Literary Criticism, 31.
Harte, Bret, 133, 253, 254.
Hawthorne, Julian, 70, 258.
Hawthorne, Nathaniel, xix, xxii, xxiii, 33, 71, 75, 297-319.
Henry, O., 193-215.
Higginson, Thomas Wentworth, xxiii.
Hoffman, E. A., xix, 75.
Homeric stories, xv.
Humorous Stories, 191-250.
Hutton, R. H., 301.
Hamilton, Clayton, 354.
Hammerton, J.A., 218.
Handbook of Literary Criticism, 31.
Bret Harte, 133, 253, 254.
Julian Hawthorne, 70, 258.
Nathaniel Hawthorne, xix, xxii, xxiii, 33, 71, 75, 297-319.
Henry O., 193-215.
Thomas Wentworth Higginson, xxiii.
Hoffman, E.A., xix, 75.
Homeric stories, xv.
Humorous Stories, 191-250.
Hutton, R.H., 301.
I
I
J
J
K
K
King, Grace, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.
Kipling, Rudyard, __A_TAG_PLACEHOLDER_2__, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__-__A_TAG_PLACEHOLDER_5__, __A_TAG_PLACEHOLDER_6__.
L
L
M
M
Mabie, Hamilton Wright, 279.
McIntyre, Marion, 137.
Maclaren, Ian, 216.
“Mateo Falcone,” 8-29, 134, 254.
Matthews, Brander, xxiii, 75, 280, 370, 371.
“Markheim,” 32, 33, 393-422.
Maupassant, Guy de, vii, xxix, 133, 196, 254, 277-290, 356-368.
Mérimée, Prosper, xix, xx, 4, 8-29.[Pg 441]
Milesian Tales, xvi.
Miller, Merion M., 370.
“Moonlight,” 253, 278, 281-290.
“Monkey’s Paw, The,” 110-129, 134.
Morrison, Arthur, 422-431.
Mystery and Fantasy Stories, 69-130.
Mabie, Hamilton Wright, 279.
Marion McIntyre, 137.
Ian Maclaren, 216.
“Mateo Falcone,” 8-29, 134, 254.
Matthews, Brander, xxiii, 75, 280, 370, 371.
“Markheim,” 32, 33, 393-422.
Guy de Maupassant, vii, xxix, 133, 196, 254, 277-290, 356-368.
Mérimée, Prosper, xix, xx, 4, 8-29.[Pg 441]
Milesian Tales, xvi.
Miller, Merion M., 370.
“Moonlight,” 253, 278, 281-290.
“The Monkey’s Paw,” 110-129, 134.
Arthur Morrison, 422-431.
Mystery and Fantasy Stories, 69-130.
N
N
Nathan, G. J., __A_TAG_PLACEHOLDER_0__.
Nodier, Charles, __A_TAG_PLACEHOLDER_1__.
Novel, __A_TAG_PLACEHOLDER_2__.
Novelette, __A_TAG_PLACEHOLDER_3__, __A_TAG_PLACEHOLDER_4__.
Novella, __A_TAG_PLACEHOLDER_5__, __A_TAG_PLACEHOLDER_6__.
O
O
P
P
Pater, Walter, 392.
Peck, Harry Thurston, 197.
Pellissier, Georges, 7.
Perry, Bliss, 2, 392.
Phelps, William Lyon, 31.
“Piece of String, The,” 356-368.
Plot, xxv.
Plot incident, 11.
Poe, Edgar Allan, xix, xx, xxi, xxii, xxv, 30, 72-107, 134, 294, 295, 296, 320-351.
Psychological Studies, 391-432.
“Purloined Letter, The,” 72, 75-107.
Pushkin, xix.
Walter Pater, 392.
Peck, Harry T., 197.
Pellissier, Georges, 7.
Perry, Bliss, 2, 392.
Phelps, William Lyon, 31.
“Piece of String, The,” 356-368.
Plot, xxv.
Plot incident, 11.
Edgar Allan Poe, xix, xx, xxi, xxii, xxv, 30, 72-107, 134, 294, 295, 296, 320-351.
Psychological Studies, 391-432.
“Purloined Letter, The,” 72, 75-107.
Pushkin, xix.
Q
Q
Questions, see Exercises.[Pg 442]
Questions, refer to Exercises.[Pg 442]
R
R
S
S
Sadness in Stories, viii.
Saintsbury, George, 7.
Sanderson, Robert, 370.
Saturday Review, xxiii.
Scenario, xvi, xxvii.
Scott, Sir Walter, xix.
Setting, Stories of, 251-290.
Sheran, William H., 31.
Short History of French Literature, 7.
Short-Story, origin of, xx;
defined, xxv, xxvi;
Study of, xiii, xiv.
Sketch, xxviii, 355.
Smith, C. Alfonso, xxiii.
Smith, Lewis W., xxiii.
Spectator, xix.
Spielhagen, Friedrich, xxiii.
Steele, Richard, xix.
Stevenson, Robert Louis, 29-67, 393-422.
Story-tellers, xv, xvi.
“Substitute, The,” 371-388.
Symons, Arthur, 138, 279.
Sadness in Stories, viii.
George Saintsbury, 7.
Robert Sanderson, 370.
Saturday Review, xxiii.
Scenario, xvi, xxvii.
Sir Walter Scott, xix.
Setting, Stories of, 251-290.
William H. Sheran, 31.
Short History of French Literature, 7.
Short-Story, origin of, xx;
defined, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__;
Study of, __A_TAG_PLACEHOLDER_0__, __A_TAG_PLACEHOLDER_1__.
Sketch, xxviii, 355.
Smith, C. Alfonso, xxiii.
Smith, Lewis W., xxiii.
Spectator, xix.
Friedrich Spielhagen, xxiii.
Steele, Richard, xix.
Robert Louis Stevenson, 29-67, 393-422.
Story-tellers, xv, xvi.
“Substitute, The,” 371-388.
Arthur Symons, 138, 279.
T
T
V
V
W
W
Z
Z
Download ePUB
If you like this ebook, consider a donation!