THE WEAVER WHO CLAD THE SUMMER
Comment.—The death of Harris Merton Lyon gives added poignancy to the story whose idealism and inspiration made for it a place in the first of Mr. O’Brien’s collections. Judged by the test of Beauty, it is perhaps first on the list. The satisfaction vouchsafed each reader will be in proportion to his own Spirit of Work and his acceptance of the theme.
Theme. Since the Idea is foremost, it is quite fitting that it should be sounded early. The first approach is on page one (153, Yearbook) and in the form of a wonder as to what there could possibly be “in being a worker at the other, the evanescent thing.” The answer, or the satisfaction of the wonder, is given in the essential story, stripped of its covering, pages 158-170. The theme is emphasized, strongly, in the sentence on page 170: “You did the Work of your Hand!”
The Inner Story, which allegorically satisfies the questioner, is the beautifully tenuous tale of the Mariner. It is woven of words in a style perfectly to suggest the spirit of summer and the evanescence of her garments, yet underneath the light superstructure are the foundations of the short-story. The struggle of the weaver, Andy Gordon, was successfully repeated for forty years. He died, knowing that he had been “a master-worker in a fabric that immediately dissolved,” yet content. His death is the dénouement of the tale, just as the dialogue between the Voice and Andy (pages 159-161) forms the initial incident. What is the dramatic climax?
Presentation. Andy Gordon’s story is told in an Italian restaurant, Pigalle’s, over a poker table. The narrator is at first denominated the Ancient Mariner; eventually he proves to be the Andy Gordon of his tale. (See pages 158 and 171.) What new evaluation of the weaver’s story do you make after learning that Andy was a violinist? Had you guessed any part of the whole situation before reading to the dénouement of the enveloping story? The narrator of the external action is, presumably, the author himself, who uses the first person “I.”
Contrast, between the restaurant scene and character on the one hand and the summer scenes with Andy on the other, is the chief aid used to enhance the narrative. Point out particular examples of its operation.
Details. Division I emphasizes the character of the Mariner, at the same time it repeats the theme. (See above), in the words, “Sufficient unto eternity is the glory of the hour.” Why does the author give an entire division (III) to the lines: “Abruptly the old man left and went out into the snowy night. For there were tears in his eyes.”
What value has the reference to Bernhardt, page 153?
Why is it well to set the rehearsal on a snowy evening? (Study the story for the answer.) Where is Pigalle’s restaurant?
What effect has the tinkling of the door-bell, at eleven o’clock?
What principle of emphasis is at work on the description of the maid who bore the “sweet ineffable name of Philomene”? On the Mariner (as described, page 155)?
What do you gather from the absinthe and the cigarettes jaunes?
What addition is made to the comprehension of the Mariner in the suggested resemblance to Socrates and to Verlaine?
What colors and materials are used in Summer’s dresses? Would others have served as well? After knowing the dénouement (that Andy was a violinist) how do you interpret the passage “Andy was about twenty-eight years old then,” etc., through the words “done by hand”? What other passages need similar interpretation?
How are the forty years so passed over as to emphasize, without needlessly repeating, Andy’s Work?
What is your own reaction to this story?