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Юриспунденкция

Read the short story and answer the questions that follow it.

G. M. Brown

Shell Songs

Dearest Alicia,

I must tell you about this strange thing that has happened here.

Do you remember Hundland who used to come and help in the Hall garden sometimes in summer? He is a small man with a brown silky beard and blue eyes. He is a good worker, and quiet in his speech. One thing about him, when James or I speak to him, he will not remove his hat, or say “sir” and “ma’am”.

Hundland works a croft on the far side of the island. He is married and has several children.

Three days ago, Tuesday, Hundland has a boy with him, aged nine or ten, when I saw him working in the tulip-beds. This child was wandering slowly here and there about the garden. I could see his lips moving. He nodded from time to time. His hands made slow shapes. He was a very small boy indeed, and not very pretty, with light sand-coloured hair. My first impression was: he is a bit simple in the head.

I opened the window. I called, “Good morning, Hundland!” The man merely turned his face and nodded. The child fled as if he had been shot, behind the sycamore tree.

“What child is that?” I asked.

Hundland replied, still bent over the blossoms, “He’s Tom. He’s our youngest boy. The wife’s not well today. I thought I would take him off her hands. He’s more trouble, in a way, than all the others.”

“Tom,” I called, “come from behind the tree. I have an orange and a piece of chocolate for you.”

There was no answer. There was a white five-pointed star stuck to the hither side of the trunk, Tom’s hand.

“He won’t come out!” said Hundland. “He’s the strangest boy I ever saw. He wouldn’t show himself if you were to offer him a piece of gold. I don’t know what’s to become of the creature when he’s grown. He’s frightened of boats. He’s frightened of horses. He wants to know all about them, all the same. He’s frightened of any stranger that comes about. That won’t do in a crofter-fisherman. He might grow out of it. He’ll have to.”

“Surely he ought to be at school,” I said.

“He’s frightened of the teacher, too, and the big boys; they won’t leave him alone. He’s as ignorant as the scarecrow when it comes to letters and figures. He’s upset this morning, because his mother’s in bed. The only time he’s happy is when he’s by himself. He contents himself with the daft games he makes up…”.

These were the words of my radical gardener to me, the most he’s ever spoken. (But never a touch to the cap.)

It was a most beautiful morning, Alicia, all blue and gold and green. I decided not to waste the day (James has been all week in Edinburgh on business). I took my book and parasol and cushion and walked along to the beach, which was quite empty, as the fishermen had taken advantage of the weather to set their creels here and there under the cliffs on the west side.

I sat down on a rock and opened my book of Shenstone’s poems. Everything was quite beautiful and tranquil. Nature smiled. It was so peaceful I could hear the horse in the field above champing and moving through the grass. I could sense, almost, the earth’s juices flowing.

(How is it words in a book are never so beautiful and interesting outside, in the sun? Of course they are, they must be; but books seem made for opening beside a fire indoors, with the yellow waverings of candle-light on the white pages. My friend, I would rather than any book that you had been there to share that beautiful day with me! There is a selfishness in solitary enjoyment.)

It seemed, however, that I was not destined to be solitary for too long. I heard the faintest rhythmic displacement of dry sand-grains. Who could it be, the despoiler of my solitude? I raised the rim of my summer hat, and looked.

It was a small boy, anonymous against the blue and silver glitterings of ocean.

His mouth, between the sea and the fields, was ringing like a little bell.

Dear Alicia, the boy spoke as if the shells and stones and water were living things, and could understand what he was saying. It was the strangest experience: I hidden in my rock cranny, this boy (whoever he was) wandering here and there about the shore, chanting.

I listened, half-amused and half-wonderstruck. Shenstone lay spreadeagled at my feet, the pages slowly curling in the sun.

Should I declare myself? It seemed a shame to break the natural flow of the boy’s phantasy. This most strange monologue went on and on. On an impulse, I plucked a pencil from my bag and wrote, as best I could, on the blank pages of Shenstone’s Works, the words of my shore wanderer. It seemed a shame that only the empty unremembering empyrean should be given such a unique recital.

I cannot convey how fresh and exquisite the words were in that setting. My pencil stumbled on and on, and slowly blunted.

Naturally, I missed much. The boy wandered here and there. Often I could only hear — as it were — an indistinct music. And, then, pencil on paper is tardy, and his words, however indistinct, came with the freshness and urgency of a spring.

Such as I gathered, I send you to marvel at. If they appear in broken lines, my excuse is that they seemed like a scattering of primitive unpolished stones.

Here I go.

I’m writing letters

To a bird and a shell.

I should be writing

On a slate in the school.

The sea will cure her.

I’ll take sea

Up to the house in this shell.

“Drink this, Mother.”

I don’t think he’ll ever die, the Laird, Mr. Sweyn.

The lady, she’s kind,

She’s beautiful and she’s sweet,

So she’ll die.

A pity that, a great pity

For old Mr. Sweyn!

Tomorrow,

Every day I’ll go.

I’ll read the books, hard.

I’ll study.

I’ll go to Edinburgh, the college there.

I’ll be a doctor. I will.

I’ll say to her in the bed,

“Get well. I’m here. Take this medicine.”

I can do anything with you I like,

Sand.

I’ve drawn a cottage.

There are people living in it.

They’re all singing.

Look at their round mouths.

There’s a mother

At a table, with pots and plates.

Are you listening, shell?

You

Are all whispers and whispers.

Listen. Tell me

Where the hidden treasure is, the box

Full of silver coins.

Then

My father will be able to pay his rent.

I am Mr. Sweyn.

I live up at the Hall. I do.

Seagull,

How do you know I amn’t Mr. Sweyn?

I am Mr. Sweyn the Laird.

I say,

“Miss Ingsetter, you are sacked from the school.”

Then I say,

“Mrs. Hundland is to stop coughing,

I have a room for her

High up, where blue air comes in.”

Nobody

Hears, only a shell and a gull.

They are arguing.

The gull says, “Her face is burning. Then it is grey.

She is very sick.”

The shell sings, “The mother,

She is never going to die.”

Once she was sick before.

Then she got up.

She lit the fire, she polished all our boots.

I’m tired. I’m in trouble. I’m bad. I’m idle.

Shell and gull,

I should be taking the sweat from my mother’s face.

There was silence at last, but for the first ebb noises and the cries of a rock-questing gull. It had gotten cold in my rock cranny.

The boy had wandered away.

My hand was numb with writing (as best I could) all those “native woodnotes wild”.

I looked out. The sands were flushed with the last of the sun.

The boy was a trembling dot against the far reaches of the shore.

I knew — if I had not known already — that it was Tom Hundland.

I had am impulse to cry after him to come back — I would do what I could for his mother and his family.

He heard me. It must have been a thin echo, my cry, at that distance, in the first shadows. He went like a bird up the nearest shore path to the road above.

My hand, dear Alicia, was numb with writing, and with the first chill of evening; and with something more, beyond, the plight of that cottage with the skull on the window-sill.

1. Who tells us the story? In what form us it written? What term is usually applied to define this type of writing? What accounts for the author’s choice to present the story as a letter?

2. Dwell on the function of the setting. Describe the atmosphere it creates.

3. Present the characters: Tom, Hundland, the lady. Describe the impression they produce on each other and on the reader.

4. Describe the lady in detail. What does her house look like? What constitutes her daily routine? Does she seem to be happy in her married life? What is the significance of this character for the story?

5. Discuss the peculiarities of her letter-writing style: the structure of the sentences; the vocabulary used (low colloquial, informal, neutral, bookish, elevated, formal); the events and details she concentrates on. Paraphrase some of her expressions. Does her manner of writing resemble the way you usually write letters?

6. Discuss your first reaction to Tom’s poem. Enumerate the devices that make it poetic. Analyze the symbolic meaning of the following images used by Tom: the sea, the shell, the gull, his picture on the sand. What information does the poem convey about its author (his emotional state, the way he perceives himself and the world around him)?

7. Characterize the general mood of the whole story and the key it is written in.

UNIT 2

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THE LYRICAL KEY	\|	The dramatic Key

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