‘Where the Wild Things Are’

Christopher Hitchens’ 2008 review of [amazon_textlink asin=’0199226059′ text=’Sandie Byrne’s The Unbearable Saki‘ template=’ProductLink’ store=’irishistcomp-21′ marketplace=’UK’ link_id=’9d8453b5-dc0d-11e7-bc94-334d54a39218′] is in fact more of an essay on his admiration for Saki’s short stories.

Go and get an edition of this Edwardian master of the short story. Begin with, say, “Sredni Vashtar” or “The Lumber-Room” or “The Open Window.” Then see whether you can put the book down.

You can read the whole article here.

‘Forewarned’

Alethia1 Debchance sat in a corner of an otherwise empty railway carriage, more or less at ease as regarded body, but in some trepidation as to mind. She had embarked on a social adventure of no little magnitude as compared with the accustomed seclusion and stagnation of her past life. At the age of twenty-eight she could look back on nothing more eventful than the daily round of her existence in her aunt’s house at Webblehinton, a hamlet four and a half miles distant from a country town and about a quarter of a century removed from modern times. Their neighbours had been elderly and few, not much given to social intercourse, but helpful or politely sympathetic in times of illness. Newspapers of the ordinary kind were a rarity; those that Alethia saw regularly were devoted exclusively either to religion or to poultry, and the world of politics was to her an unheeded unexplored region. Her ideas on life in general had been acquired through the medium of popular respectable novel-writers, and modified or emphasised by such knowledge as her aunt, the vicar, and her aunt’s housekeeper had put at her disposal. And now, in her twenty-ninth year, her aunt’s death had left her, well provided for as regards income, but somewhat isolated in the matter of kith and kin and human companionship. She had some cousins who were on terms of friendly, though infrequent, correspondence with her, but as they lived permanently in Ceylon, a locality about which she knew little, beyond the assurance contained in the missionary hymn that the human element there was vile,2 they were not of much immediate use to her. Other cousins she also possessed, more distant as regards relationship, but not quite so geographically remote, seeing that they lived somewhere in the Midlands. She could hardly remember ever having met them, but once or twice in the course of the last three or four years they had expressed a polite wish that she should pay them a visit; they had probably not been unduly depressed by the fact that her aunt’s failing health had prevented her from accepting their invitation. The note of condolence that had arrived on the occasion of her aunt’s death had included a vague hope that Alethia would find time in the near future to spend a few days with her cousins, and after much deliberation and many hesitations she had written to propose herself as a guest for a definite date some week ahead. The family, she reflected with relief, was not a large one; the two daughters were married and away, there was only old Mrs. Bludward and her son Robert at home. Mrs. Bludward was something of an invalid, and Robert was a young man who had been at Oxford and was going into Parliament. Further than that Alethia’s information did not go; her imagination, founded on her extensive knowledge of the people one met in novels, had to supply the gaps. The mother was not difficult to place; she would either be an ultra-amiable old lady, bearing her feeble health with uncomplaining fortitude, and having a kind word for the gardener’s boy and a sunny smile for the chance visitor, or else she would be cold and peevish, with eyes that pierced you like a gimlet, and a unreasoning idolatry of her son. Alethia’s imagination rather inclined her to the latter view. Robert was more of a problem. There were three dominant types of manhood to be taken into consideration in working out his classification; there was Hugo, who was strong, good, and beautiful, a rare type and not very often met with; there was Sir Jasper, who was utterly vile and absolutely unscrupulous, and there was Nevil, who was not really bad at heart, but had a weak mouth and usually required the life-work of two good women to keep him from ultimate disaster. It was probable, Alethia considered, that Robert came into the last category, in which case she was certain to enjoy the companionship of one or two excellent women, and might possibly catch glimpses of undesirable adventuresses or come face to face with reckless admiration-seeking married women. It was altogether an exciting prospect, this sudden venture into an unexplored world of unknown human beings, and Alethia rather wished that she could have taken the vicar with her; she was not, however, rich or important enough to travel with a chaplain, as the Marquis of Moystoncleugh always did in the novel she had just been reading, so she recognised that such a proceeding was out of the question.

The train which carried Alethia towards her destination was a local one, with the wayside station habit strongly developed. At most of the stations no one seemed to want to get into the train or to leave it, but at one there were several market folk on the platform, and two men, of the farmer or small cattle-dealer class, entered Alethia’s carriage. Apparently they had just foregathered, after a day’s business, and their conversation consisted of a rapid exchange of short friendly inquiries as to health, family, stock, and so forth, and some grumbling remarks on the weather. Suddenly, however, their talk took a dramatically interesting turn, and Alethia listened with wide-eyed attention.

“What do you think of Mister Robert Bludward, eh?”

There was a certain scornful ring in his question.

“Robert Bludward? An out-an’-out rotter, that’s what he is. Ought to be ashamed to look any decent man in the face. Send him to Parliament to represent us—not much! He’d rob a poor man of his last shilling, he would.”

“Ah, that he would. Tells a pack of lies to get our votes, that’s all that he’s after, damn him. Did you see the way the Argus showed him up this week? Properly exposed him, hip and thigh,3 I tell you.”

And so on they ran, in their withering indictment. There could be no doubt that it was Alethia’s cousin and prospective host to whom they were referring; the allusion to a Parliamentary candidature settled that. What could Robert Bludward have done, what manner of man could he be, that people should speak of him with such obvious reprobation?

“He was hissed down at Shoalford yesterday,” said one of the speakers.

Hissed! Had it come to that? There was something dramatically biblical in the idea of Robert Bludward’s neighbours and acquaintances hissing him for very scorn. Lord Hereward Stranglath had been hissed, now Alethia came to think of it, in the eighth chapter of Matterby Towers, while in the act of opening a Wesleyan bazaar, because he was suspected (unjustly as it turned out afterwards) of having beaten the German governess to death. And in Tainted Guineas Roper Squenderby had been deservedly hissed, on the steps of the Jockey Club,4 for having handed a rival owner a forged telegram, containing false news of his mother’s death, just before the start for an important race, thereby ensuring the withdrawal of his rival’s horse. In placid Saxon-blooded England people did not demonstrate their feelings lightly and without some strong compelling cause. What manner of evildoer was Robert Bludward?

The train stopped at another small station, and the two men got out. One of them left behind him a copy of the Argus, the local paper to which he had made reference. Alethia pounced on it, in the expectation of finding a cultured literary endorsement of the censure which these rough farming men had expressed in their homely, honest way. She had not far to look; “Mr. Robert Bludward, Swanker,” was the title of one of the principal articles in the paper. She did not exactly know what a swanker was, probably it referred to some unspeakable form of cruelty, but she read enough in the first few sentences of the article to discover that her cousin Robert, the man at whose house she was about to stay, was an unscrupulous, unprincipled character, of a low order of intelligence, yet cunning withal, and that he and his associates were responsible for most of the misery, disease, poverty, and ignorance with which the country was afflicted; never, except in one or two of the denunciatory Psalms, which she had always supposed to have be written in a spirit of exaggerated Oriental imagery, had she read such an indictment of a human being. And this monster was going to meet her at Derrelton Station in a few short minutes. She would know him at once; he would have the dark beetling brows, the quick, furtive glance, the sneering, unsavoury smile that always characterised the Sir Jaspers of this world. It was too late to escape; she must force herself to meet him with outward calm.

It was a considerable shock to her to find that Robert was fair, with a snub nose, merry eye, and rather a schoolboy manner. “A serpent in duckling’s plumage,” was her private comment; merciful chance had revealed him to her in his true colours.

As they drove away from the station a dissipated-looking man of the labouring class waved his hat in friendly salute. “Good luck to you, Mr. Bludward,” he shouted; “you’ll come out on top! We’ll break old Chobham’s neck for him.”

“Who was that man?” asked Alethia quickly.

“Oh, one of my supporters,” laughed Robert; “a bit of a poacher and a bit of a pub-loafer, but he’s on the right side.”

So these were the sort of associates that Robert Bludward consorted with, thought Alethia.

“Who is the person he referred to as old Chobham?” she asked.

“Sir John Chobham, the man who is opposing me,” answered Robert; “that is his house away there among the trees on the right.”

So there was an upright man, possibly a very Hugo in character, who was thwarting and defying the evildoer in his nefarious career, and there was a dastardly plot afoot to break his neck! Possibly the attempt would be made within the next few hours. He must certainly be warned. Alethia remembered how Lady Sylvia Broomgate, in Nightshade Court, had pretended to be bolted with by her horse up to the front door of a threatened county magnate, and had whispered a warning in his ear which saved him from being the victim of foul murder. She wondered if there was a quiet pony in the stables on which she would be allowed to ride out alone. The chances were that she would be watched. Robert would come spurring after her and seize her bridle just as she was turning in at Sir John’s gates.

A group of men that they passed in a village street gave them no very friendly looks, and Alethia thought she heard a furtive hiss; a moment later they came upon an errand boy riding a bicycle. He had the frank open countenance, neatly brushed hair and tidy clothes that betoken a clear conscience and a good mother. He stared straight at the occupants of the car, and, after he had passed them, sang in his clear, boyish voice:

“We’ll hang Bobby Bludward on the sour apple tree.”5

Robert merely laughed. That was how he took the scorn and condemnation of his fellow-men. He had goaded them to desperation with his shameless depravity till they spoke openly of putting him to a violent death, and he laughed.

Mrs. Bludward proved to be of the type that Alethia had suspected, thin-lipped, cold-eyed, and obviously devoted to her worthless son. From her no help was to be expected. Alethia locked her door that night, and placed such ramparts of furniture against it that the maid had great difficulty in breaking in with the early tea in the morning.

After breakfast Alethia, on the pretext of going to look at an outlying rose-garden, slipped away to the village through which they had passed on the previous evening. She remembered that Robert had pointed out to her a public reading-room, and here she considered it possible that she might meet Sir John Chobham, or some one who knew him well and would carry a message to him. The room was empty when she entered it; a Graphic twelve days old, a yet older copy of Punch, and one or two local papers lay upon the central table; the other tables were stacked for the most part with chess and draughts-boards, and wooden boxes of chessmen and dominoes. Listlessly she picked up one of the papers, the Sentinel, and glanced at its contents. Suddenly she started, and began to read with breathless attention a prominently printed article, headed “A Little Limelight on Sir John Chobham.” The colour ebbed away from her face, a look of frightened despair crept into her eyes. Never, in any novel that she had read, had a defenceless young woman been confronted with a situation like this. Sir John, the Hugo of her imagination, was, if anything, rather more depraved and despicable than Robert Bludward. He was mean, evasive, callously indifferent to his country’s interests, a cheat, a man who habitually broke his word, and who was responsible, with his associates, for most of the poverty, misery, crime, and national degradation with which the country was afflicted. He was also a candidate for Parliament, it seemed, and as there was only one seat in this particular locality, it was obvious that the success of either Robert or Sir John would mean a check to the ambitions of the other, hence, no doubt, the rivalry and enmity between these otherwise kindred souls. One was seeking to have his enemy done to death, the other was apparently trying to stir up his supporters to an act of “Lynch law”. All this in order that there might be an unopposed election, that one or other of the candidates might go into Parliament with honeyed eloquence on his lips and blood on his heart. Were men really so vile?

“I must go back to Webblehinton at once,” Alethia informed her astonished hostess at lunch time; “I have had a telegram. A friend is very seriously ill and I have been sent for.”

It was dreadful to have to concoct lies, but it would be more dreadful to have to spend another night under that roof.

Alethia reads novels now with even greater appreciation than before. She has been herself in the world outside Webblehinton, the world where the great dramas of sin and villainy are played unceasingly. She had come unscathed through it, but what might have happened if she had gone unsuspectingly to visit Sir John Chobham and warn him of his danger? What indeed! She had been saved by the fearless outspokenness of the local Press.


  1. Ironically, given her devotion to fiction, Alethia’s name means “truth”.
  2. Allusion to the hymn “From Greenland’s Icy Mountains” (1819) by Reginald Heber, which contains the lines “What though the spicy breezes blow soft o’er Ceylon’s isle;/Though every prospect pleases, and only man is vile?”
  3. Idiom meaning “fiercely” or “ruthlessly”.
  4. The social club and horseracing organisation had a clubhouse on Pall Mall.
  5. “Hang him on the sour apple tree” was a song about Jefferson Davis (1808 –1889), President of the Confederate States during the American Civil War.

‘Forewarned’ by Saki (H.H. Munro), taken from The Toys of Peace (public domain). Notes © 2018 Bruce Gaston. No reproduction without permission.

‘Mrs. Packletide’s Tiger’

It was Mrs. Packletide’s pleasure and intention that she should shoot a tiger. Not that the lust to kill had suddenly descended on her, or that she felt that she would leave India safer and more wholesome than she had found it, with one fraction less of wild beast per million of inhabitants. The compelling motive for her sudden deviation towards the footsteps of Nimrod[1] was the fact that Loona Bimberton had recently been carried eleven miles in an aeroplane by an Algerian aviator, and talked of nothing else; only a personally procured tiger-skin and a heavy harvest of Press photographs could successfully counter that sort of thing. Mrs. Packletide had already arranged in her mind the lunch she would give at her house in Curzon Street, ostensibly in Loona Bimberton’s honour, with a tiger-skin rug occupying most of the foreground and all of the conversation. She had also already designed in her mind the tiger-claw broach that she was going to give Loona Bimberton on her next birthday. In a world that is supposed to be chiefly swayed by hunger and by love Mrs. Packletide was an exception; her movements and motives were largely governed by dislike of Loona Bimberton.

Circumstances proved propitious. Mrs. Packletide had offered a thousand rupees for the opportunity of shooting a tiger without over-much risk or exertion, and it so happened that a neighbouring village could boast of being the favoured rendezvous of an animal of respectable antecedents, which had been driven by the increasing infirmities of age to abandon game-killing and confine its appetite to the smaller domestic animals. The prospect of earning the thousand rupees had stimulated the sporting and commercial instinct of the villagers; children were posted night and day on the outskirts of the local jungle to head the tiger back in the unlikely event of his attempting to roam away to fresh hunting-grounds, and the cheaper kinds of goats were left about with elaborate carelessness to keep him satisfied with his present quarters. The one great anxiety was lest he should die of old age before the date appointed for the memsahib’s[2] shoot. Mothers carrying their babies home through the jungle after the day’s work in the fields hushed their singing lest they might curtail the restful sleep of the venerable herd-robber.

Continue reading

“Suddenly I became aware of a naked boy, a bather from some neighbouring pool…”

There is definitely a PhD waiting to be written on the subject of Saki and painting.

In her memoir of her brother Ethel Munro describes visiting museums and art galleries in Europe with her father and siblings.

We saw an immense number of picture galleries in Berlin, Munich, etc., and were impressed by the love of Germans artists for St. Sebastian (the arrow-struck saint), so we started bets on the gallery which would have the most: Berlin won.[1]

Martyrdom of Saint Sebastian by Il Sodoma – The Yorck Project: 10.000 Meisterwerke der Malerei. DVD-ROM, 2002. ISBN 3936122202. Distributed by DIRECTMEDIA Publishing GmbH. (was corrupt, new version from [1]), Public Domain, https://commons.wikimedia.org/w/index.php?curid=159059

Although it is doubtful Ethel realised its significance, the choice of St. Sebastian may have been not been completely arbitrary, for this saint was something of a homosexual icon[2] and in this post I want to explore some possible ways Munro’s interest in particular niche genres of art may reveal aspects of his sexuality.

Before beginning I may as well include the usual disclaimer. As Brian Gibson is at pains to point out in his book,[3], most critics and commentators (recent ones at least) have taken Munro’s homosexuality as established fact when there is no proof one way or the other. (There may once have been, before Ethel Munro did her censorship job on her brother’s papers after his death. Indeed, the fact that she tried so rigorously to present a particular image of him posthumously very much suggests there was something to hide – but here again we see how easy it is to slip into speculation based on circumstantial evidence.) The second part of the disclaimer is the standard warning against the biographical interpretation of fiction, as taught to every undergraduate studying literature: one must be extremely wary of drawing conclusions about a writer’s life from his fiction, or vice versa.

I suppose at this point I could stop writing.

However, were I to continue along this route, then I might want to begin with the uncontroversial assertion that art was clearly an aspect of culture that Munro had a great deal of interest in and (judging by its presence in many of his works) a fair amount of knowledge of too. There are numerous references in his work to painters and paintings, both real and imagined. One of his early stories was even entitled ‘Reginald on the Academy’ (a reference to London’s Royal Academy of Arts). The Academy and the types of paintings it bought and displayed were the subject of some discussion at the time Munro was writing. In particular, its acquisition policy, financed through the Chantry Bequest (referred to in that story), had come under fire for being conservative and parochial.[4] The Academy’s Summer Exhibition, which showed amateur works, was similarly unadventurous. It is the Summer Exhibition that is the recipient of Theophil Eshley’s paintings in the story ‘The Stalled Ox’:

Theophil Eshley was an artist by profession, a cattle painter by force of environment. It is not to be supposed that he lived on a ranch or a dairy farm, in an atmosphere pervaded with horn and hoof, milking-stool, and branding-iron. His home was in a park-like, villa-dotted district that only just escaped the reproach of being suburban. On one side of his garden there abutted a small, picturesque meadow, in which an enterprising neighbour pastured some small picturesque cows of the Channel Island persuasion. At noonday in summertime the cows stood knee-deep in tall meadow-grass under the shade of a group of walnut trees, with the sunlight falling in dappled patches on their mouse-sleek coats. Eshley had conceived and executed a dainty picture of two reposeful milch-cows in a setting of walnut tree and meadow-grass and filtered sunbeam, and the Royal Academy had duly exposed the same on the walls of its Summer Exhibition. The Royal Academy encourages orderly, methodical habits in its children. Eshley had painted a successful and acceptable picture of cattle drowsing picturesquely under walnut trees, and as he had begun, so, of necessity, he went on. His “Noontide Peace,” a study of two dun cows under a walnut tree, was followed by “A Mid-day Sanctuary,” a study of a walnut tree, with two dun cows under it. In due succession there came “Where the Gad-Flies Cease from Troubling,” “The Haven of the Herd,” and “A Dream in Dairyland,” studies of walnut trees and dun cows. His two attempts to break away from his own tradition were signal failures: “Turtle Doves alarmed by Sparrow-hawk” and “Wolves on the Roman Campagna” came back to his studio in the guise of abominable heresies, and Eshley climbed back into grace and the public gaze with “A Shaded Nook where Drowsy Milkers Dream.”

However, it is a couple of passing references to the works of a different (real, this time) Academician that set me thinking (speculating might be a better word) about the controversial topic of Munro’s sexuality.

The reference comes in the story ‘The Lull’, in which a young girl fools a visiting country house guest into believing there has been a great flood. The bathroom, she reports, is full of Boy Scouts.

“Boy Scouts?”

“Yes, thirty of them came to rescue us while the water was only waist-high; then it rose another three feet or so and we had to rescue them. We’re giving them hot baths in batches and drying their clothes in the hot-air cupboard, but, of course, drenched clothes don’t dry in a minute, and the corridor and staircase are beginning to look like a bit of coast scenery by Tuke.”

“Tuke” here is Henry Scott Tuke (1858–1929). He was one of a number of artists in the late Victorian and the Edwardian period with a fascination for the male nude, and is particularly remembered for his paintings of boys swimming or boating in the open air. (He lived on the Cornwall coast.)

‘Ruby, gold and malachite’ by Henry Scott Tuke. Via Wikimedia Commons https://commons.wikimedia.org/wiki/File:Tuke,_Henry_Scott_(1858%E2%80%931929),_Ruby,_gold_and_malachite,_1902.jpg#/media/File:Tuke,_Henry_Scott_(1858%E2%80%931929),_Ruby,_gold_and_malachite,_1902.jpg

The reader will find more undressed young boys in ‘Reginald’s Choir Treat’. In that story Reginald takes a church outing to a bathing spot and then makes them parade, undressed, back home.

Reginald said he had seen something like it in pictures […]

Brian Gibson suggests that the pictures may be like those taken by the photographer Wilhelm von Gloeden. [5] Von Gloeden, a German nobleman, lived in Sicily and used local models. Although he took landscape photos as well, he took many nude photographs of boys and young men, usually with some kind of classical imagery or props such as pillars or amphorae.[6]

Wilhelm von Gloeden, ‘Hypnos’. Via Wikimedia Commons https://en.wikipedia.org/wiki/Wilhelm_von_Gloeden#/media/File:Gloeden,_Wilhelm_von_(1856-1931)_-_n._1744_-_Hypnos.jpg

In the article ‘The Love that dare not speak its name’,[7] Emmanuel Cooper lists other artists around the 1890s, such as Frederick Rolfe (aka Baron Corvo), who created similar classically inspired artworks.

Many of these men were homosexual and used classical Greek art (principally sculpture) as a model/legitimation for their own studies of nudes.

Homosexual acts were of course illegal at that time and therefore had to be carried out clandestinely. An interest in classical nudes represented a kind of grey area where the normal Victorian prudery and abhorrence of homosexuality did not apply as it did in society at large. It was within “transgressive spaces” such as these that homosexuals were forced to operate.

As a result, objects, cultural artefacts, people (such as St. Sebastian) and even places had a double meaning, creating a kind of code developed which only initiates could ‘read’. For example, when Munro presents Clovis reclining in the Jermyn Street Turkish baths, the average reader was probably unaware that they were a popular rendezvous for homosexual men.[8]

Clovis sat in the hottest zone but two of a Turkish bath, alternately inert in statuesque contemplation and rapidly manoeuvring a fountain-pen over the pages of a note-book.

“Don’t interrupt me with your childish prattle,” he observed to Bertie van Tahn, who had slung himself languidly into a neighbouring chair and looked conversationally inclined; “I’m writing deathless verse.”

Bertie looked interested.

“I say, what a boon you would be to portrait painters if you really got to be notorious as a poetry writer. If they couldn’t get your likeness hung in the Academy as ‘Clovis Sangrail, Esq., at work on his latest poem,’ they could slip you in as a Study of the Nude or Orpheus descending into Jermyn Street. They always complain that modern dress handicaps them, whereas a towel and a fountain-pen—”

(‘The Recessional’)

Clovis and Bertie’s presence at this location are incidental to the story itself, which deals with Clovis’ composition of an execrably bad poem to celebrate an important imperial occasion. (A recycling of an idea already used twice in stories about Reginald.)[9]

Nevertheless, Clovis’s position represents another of the many occurrences of the ‘naked young man near water’ motif in Munro’s short stories. The quintessential one is to be found in a relatively early tale, one of Munro’s best-known: ‘Gabriel-Ernest’:

On a shelf of smooth stone overhanging a deep pool in the hollow of an oak coppice a boy of about sixteen lay asprawl, drying his wet brown limbs luxuriously in the sun. His wet hair, parted by a recent dive, lay close to his head, and his light-brown eyes, so light that there was an almost tigerish gleam in them, were turned towards Van Cheele with a certain lazy watchfulness.

‘Gabriel-Ernest’

As Brian Gibson and Sandie Byrne point out, the bachelor Van Cheele’s encounter with this naked teenager is charged with homoeroticism. Bringing us full circle, Adam Frost in his study of “Saki’s Context and Development” links Gabriel-Ernest’s pose to Tuke’s ‘The Diving Place’:

‘The Diving Place’ by Henry Scott Tuke (The only photo I could find online, unfortunately.)

Summarising, it’s indisputable that Munro was familiar with Tuke’s paintings. Whether he knew the works any of the other artists and photographers mentioned by critics such as Cooper is less clear. But the references in his stories imply a kindred interest. Would it be fair to say that ‘Gabriel-Ernest’ is – at least in part – a prose version of these visual works?

Suddenly I became aware of a naked boy, a bather from some neighbouring pool, I took him to be, who was standing out on the bare hillside also watching the sunset. His pose was so suggestive of some wild faun of Pagan myth that I instantly wanted to engage him as a model […]

‘Et in Arcadia’ by Wilhelm von Gloeden. Via Wikimedia Commons https://commons.wikimedia.org/wiki/File:Gloeden,_Wilhelm_von_(1856-1931)_-_n._0425_-_da_Et_in_Arcadia,_p._90.jpg

Bibliography

  • Byrne, Sandie, The Unbearable Saki: The Work of H. H. Munro, 1. publ. (Oxford: Oxford Univ. Press, 2007).
  • Cooper, Emmanuel, ‘The Love that dare not speak its name’ in High Art and Low Life: The Studio and the Fin-de-Siecle ; Incorporating the Catalogue to the Exhibition High Art and Low Life: The Studio and the Arts of the 1890s, Victoria and Albert Museum, 23 June–31 October 1993 (London: Studio International, 1993).
  • Frost, Adam, Saki: His Context and Development (Diss. Univ. of Cambridge, 2000).
  • Gibson, Brian, Reading Saki: The Fiction of H. H. Munro (Jefferson, NC: McFarland, 2014).
  • Hoare, Philip, Oscar Wilde’s Last Stand: Decadence, Conspiracy, and the Most Outrageous Trial of the Century, 1st North American edition (New York: Arcade Publishing, 1998).
  • Hynes, Samuel, The Edwardian Turn of Mind (Princeton, NJ: Princeton Univ. Press, 1968).
  • Munro, E.M., ‘Biography of Saki’, in The Short Stories of Saki (H.H. Munro), with an introduction by Christopher Morley, New York, 1945, pp. 637–715.
  • Munro, H. H., The Complete Annotated Reginald Stories, ed. by Bruce Gaston, 1 edition (Favoriten Press, 2016).
  • Munro, H. H., The Short Stories of Saki (H.H. Munro), with an introduction by Christopher Morley, New York, 1945.
  • Saville, Julia F., ‘The Romance of Boys Bathing: Poetic Precedents and Respondents to the Painting of Henry Scott Tuke’, in Dellamora, Richard, ed., Victorian Sexual Dissidence (Chicago, Ill.: University of Chicago Press, 1999).

  1. Munro, E.M., p. 655. 
  2. https://www.independent.co.uk/arts-entertainment/art/features/arrows-of-desire-how-did-st-sebastian-become-an-enduring-homo-erotic-icon–779388.html  ↩
  3. Note 8 on p. 250. 
  4. The history can be found in some detail in Samuel Hynes’ The Edwardian Turn of Mind.  ↩
  5. Note that I disagree with him when he says the choir group is “presumably co-ed” (Gibson p. 41); the Anglican Church has a long tradition of all-male choirs.  ↩
  6. Gibson, note 25, p. 252.  ↩
  7. In High Art and Low Life: The Studio and the Fin-de-Siecle ; Incorporating the Catalogue to the Exhibition High Art and Low Life: The Studio and the Arts of the 1890s, Victoria and Albert Museum, 23 June–31 October 1993.  ↩
  8. Gibson, note 43, quoting Hoare p. 123. 
  9. In Reginald’s Peace Poem’ and ‘Reginald’s Rubaiyat’, and if you’re interested in knowing more can I recommend The Complete Annotated Reginald Stories? https://www.annotated-saki.info/reginald-stories-now-even-jokes/  ↩

John Bull’s Christmas Tree

(After the manner of Hans Andersen.)

The Frozen LambkinMr. R. J. Seddon.
Church-House SparrowLord Hugh Cecil.
Grand VizierMr. A. J. Balfour.
Clockwork CawmilSir H. Campbell-Bannerman.
Josephus MaximusMr. Joseph Chamberlain.
Dalmeny Auto-CarThe Earl of Rosebery.
Cavendish Sleeping-CarThe Duke of Devonshire.
Money-PigMr. C. T. Ritchie.
King-DollThe King.

JOHN BULL was sleeping placidly. He has been known to do so, occasionally. Santa Claus, which is Nickolas, entered very softly from G.K.W., which is the official abbreviation for Goodness Knows Where. How or whence he had come nobody could have told, which was just as well, as there was at least a possibility that his reindeer team might have come under the head of foreign cattle, and been stopped at one of the ports. And even saints have tempers, particularly in these competitive days, when so many of their special lines are being exploited by the Penitent Rich. Never, if you are praying to a saint, ask for a Free Library or a University education; you won’t get it.

Nickolas had brought a large fir-tree with him, as well as a bag stuffed full of presents to be hung upon it; it was advisable to bring the tree along, as John Bull was not likely to have provided one himself, though the Intelligence Department had warned him that Christmas would in all probability fall on the 25th of December. And it was an extremely lively bag that the saint proceeded to unpack; some of the toys would keep pushing them­selves to the top, and others couldn’t be made to move in any direction. A frozen, woolly lamb came out with a flop as soon as there was an opening, which looked as if the bag must have been made up at the Antipodes, and after that there was a general scramble and an awful amount of quarrelling as to who should go where. The fact that they were all carefully labelled and ticketed only made matters worse, because some of them weren’t at all pleased with their descriptions, and tried to exchange them quickly with others, so that there was really a great deal of confusion.

The Frozen Lambkin

The Frozen Lambkin sulked furiously because it was stuck on an inconspicuous branch, and it objected strongly to its distinguishing label of “Maori had a little lamb,” but the Church-House sparrow was obviously pleased with his ticket, setting forth that:

“A Sweet Cecilia on a Tree
Delighted every passer by.”

Still, that was no reason why he should have started whistling “Marching thro’ Lloyd-Georgia.”

“A political career would be endurable if it wasn’t for its politics,” said the Grand-Vizier doll, as it was being fitted on to a front branch.

The Grand Vizier

“And one could lead so comfortably if people wouldn’t push one about so,” remarked the clock-work Cawmil, as it went on to the branch opposite.

The Grand-Vizier and the Cawmil were the two most amiable toys in the bag, but each had its private troubles. The Cawmil felt it would get along much better if the other members of its caravan weren’t always examining its works and putting spokes in its wheels. And the Grand-Vizier felt that he had sacrificed one of life’s most cherished birthrights; he could not quarrel with his family relations without disorganising the whole Council of the Caliphate. Not that the Grand-Vizier wanted to quarrel with anybody, but no one likes to have virtue turned into a political necessity.

The Party Machine Gun

Right in the centre of the tree, because it would really go nowhere else, the saint had slung the great Party-machine gun, the Josephus Maximus, with self-repeating non-recoiling action, cast at the make-them-feel-small arms factory at Birmingham. When in action this weapon of precision could volley chilled steel with astonishing aim and velocity from a disappearing platform, but at present it had been converted into a smooth-Boer instrument of delicate calibre.

 

The Money Pig

There were other mechanical toys in great variety. There was the Dalmeny auto-car, that went by itself, stopping now and then at wayside inns to throw out suggestions. And there was the Cavendish sleeping-car, which never went at all, but generally managed to be well placed, nevertheless. And a tremendous buzzing and jarring accompanied the unpacking of the Irish jaunting-car, which sometimes went beyond prescribed limits, but never seemed to get any further for all that.

A large new box of soldiers looked very imposing, but no one could tell what was inside, because the lid was fastened down with a quantity of red-tape. “It may be all cotton-wool and imagination,” said the new Money-pig, gloomily, “but I shall have to find the money for it all the same.”

The Money-pig, who came out of the bottom of the bag, looked very squeezed, but there was an air of saturnine satisfaction about him, as if he had been pinching back where he could, and his crumpled ticket, which read, “Infinite Ritchies in a little room,” suggested that he was in for an exchequered career. But the Money-pig’s reflections were cut short by a loud burst of cheering from all the toys, and a lighting up of all the little candles, for Santa Claus had just put the King-Doll on the top branch of all, and the King-Doll was extremely popular. And Santa Claus, desiring to remain anonymous, even in these days of extensive advertising, withdrew quietly and unobserved just as John Bull was awakened by the noise of all the toys and dolls wishing each other a Happy Christmas.

[This early piece of light-hearted political satire was published in The House Annual, 1902  – a fund-raising publication in aid of “The Referee” Children’s Dinner Fund, one of a number of charities that fed children from poor families. (The speech marks are like that in the original.) The story is billed as “by Saki”. The (uncredited) illustrations are by Francis Carruthers Gould, who had already collaborated with Saki on The Westminster Alice. I am grateful to Brian Gibson (author of Reading Saki: The Fiction of H. H. Munro) for providing me with a copy of this story.]