THIRD INTERLUDE
by Eleanor Farjeon · from Martin Pippin in the Apple Orchard
Adapted Version
The sun was warm in the apple orchard. Martin sat with his friends, the milkmaids. They talked about a fun story they just heard. "That story made me happy," said Jane. "Yes," said Martin. "Happy thoughts are good. Friends see nice things in each other. They see good things." "It is true," said Jessica. "I see nice things in you, Martin." "And I see nice things in you all," Martin smiled. "Happy thoughts are like sunshine. They make us feel good. We can have many happy thoughts." Joscelyn shook her head. "Happy thoughts are fine," she said. "But I like practical things. Things we can touch and use." "Yes," said Martin. "Practical things are good too. But happy thoughts help us. They help us every day." Jennifer sat very still on the grass. A big tear fell down her face. Martin saw her. "Why do you cry, Jennifer?" he asked. Jennifer said, "I am getting big. I am sad. I am too old for games." Martin smiled. "No, Jennifer," he said. "Growing up is fun. You have friends. We can play many games." "We can share secrets," he said. "Everyone can keep a special secret." Martin found a pot. It had water and soap. He blew a big bubble. The bubble floated high. It was shiny. The girls laughed. Jessica blew a bubble. "Look!" she said. "My bubble is big!" Martin said, "Your bubble is very pretty, Jessica." He watched their happy faces. Their hair was bright in the sun. Then they found yellow flowers. They were buttercups. "Let's play," said Jane. She held a flower. She put it under Jennifer's chin. "Do you like butter?" she asked. Jennifer's chin was yellow. "Yes!" she laughed. They put flowers under everyone's chin. Everyone liked butter. Martin's chin was yellow too. Jessica looked at the apple trees. "I want to swing," she said. She climbed onto a branch. She swung her legs. Martin climbed up too. He swung with the girls. Gillian walked closer. She sat near them. Martin smiled. He started to sing. "A pretty flower, so sweet and bright," he sang. "A happy kiss, a lovely sight." Joscelyn shook her head. "That is too simple!" she said. Martin looked at Joscelyn. "What ending do you like?" he asked. Joscelyn clapped her hands. "Tell us the new story now!" she said. "The 'Open Winkins' story!" Gillian smiled. She was ready to listen too. Everyone was excited for Martin's next tale.
Original Story
THIRD INTERLUDE
The girls now turned their attention to their neglected apples, varying this more serious business with comments on the story that had just been related.
Jessica: I should be glad to know, Jane, what you make of this matter.
Jane: Indeed, Jessica, it is difficult to make anything at all of matter so bewildering. For who could have divined reality to be the illusion and dreams the truth? so that by the light of their dreams the lovers in this tale mistook each other for that which they were not.
Martin: Who indeed, Mistress Jane, save students of human nature like yourselves?—who have doubtless long ago observed how men and women begin by filling a dim dream with a golden thing, such as youth, and end by putting a shining dream into a gray thing, such as age. And in the end it is all one, and lovers will see to the last in each other that which they loved at the first, since things are only what we dream them to be, as you have of course also observed.
Joscelyn: We have observed nothing of the sort, and if we dreamed at all we would dream of things exactly as they are, and never dream of mistaking age for youth. But we do not dream. Women are not given to dreams.
Martin: They are the fortunate sex. Men are such incurable dreamers that they even dream women to be worse preys of the delusive habit than themselves. But I trust you found my story sufficiently wide-awake to keep you so.
Joscelyn: It did not make me yawn. Is this mill still to be found on the Sidlesham marshes?
Martin: It is where it was. But what sort of gold it grinds now, whether corn or dreams, or nothing, I cannot say. Yet such is the power of what has been that I think, were the stones set in motion, any right listener might hear what Helen and Peter once heard, and even more; for they would hear the tale of those lovers' journeys over the changing waters, and their return time and again to the unchanging plot of earth that kept their secrets. Until in the end they were together delivered up to the millstones which thresh the immortal grain from its mortal husk. But this was after long years of gladness and a life kept young by the child which each was always re-discovering in the other's heart.
Jennifer: Oh, I am glad they were glad. Do you know, I had begun to think they would not be.
Jessica: It was exactly so with me. For suppose Peter had never returned, or when he did she had found him dead in the tree?
Jane: And even after he returned and recovered, how nearly they were removed from ever understanding each other!
Joan: Oh, no, Jane! once they came together there could be no doubt of the understanding. As soon as Peter came back, I felt sure it would be all right.
Joyce: And I too, all along, was convinced the tale must end happily.
Martin: Strange! so was I. For Love, in his daily labors, is as swift in averting the nature of perils as he is deft in diverting the causes of misunderstanding. I know in fact of but one thing that would have foiled him.
Four of the Milkmaids: What then?
Martin: Had Helen not been given to dreams.
Not a word was said in the Apple-Orchard.
Joscelyn: It would have done her no harm had she not been, singer. Nor would your story have suffered, being, like all stories, a thing as important as thistledown. In either event, though Peter had perished, or misunderstood her for ever, it would not have concerned me a whit. Or even in both events.
Jessica: Nor me.
Jane: Nor me.
Martin: Then farewell my story. A thing as important as thistledown is as unimportantly dismissed. And yonder in heaven the moon sulks at us through a cloud with a quarter of her eye, reproaching us for our peace-destroying chatter. It destroys our own no less than hers. To dream is forbidden, but at least let us sleep.
One by one the milkmaids settled in the grass and covered their faces with their hands, and went to sleep. But Jennifer remained where she was. She sat with downcast eyes, softly drawing the grassblade through and through her fingers, and the swing swayed a little like a branch moving in an imperceptible wind, and her breast heaved a little as though stirred with inaudible sighs. She sat so long like that that Martin knew she had forgotten he was beside her, and he quietly put out his hand to draw the grassblade from hers. But before he had even touched it he felt something fall upon his palm that was not rain or dew.
"Dear Mistress Jennifer," said Martin gently, "why do you weep?"
She shook her head, since there are times when the voice plays a girl false, and will not serve her.
"Is it," said Martin, "because the grass is not green enough?"
She nodded.
"Pray let me judge," entreated Martin, and took the grassblade from her fingers. Whereupon she put her face into her two hands, whispering:
"Master Pippin, Master Pippin, oh, Master Pippin."
"Let me judge," said Martin again, but in a whisper too.
Then Jennifer took her hands from her wet face, and looked at him with her wet eyes, and said with great braveness and much faltering:
"I will be nineteen in November."
At this Martin looked very grave, and he got down from the tree and walked to the end of the orchard full of thought. But when he turned there he found that she had stolen after him, and was standing near him hanging her head, yet watching him with deep anxiety.
Jennifer: It is t-t-too old, isn't it?
Martin: Too old for what?
Jennifer: I—I—I don't know.
Martin: It is, of course, extremely old. There are things you will never be able to do again, because you are so old.
Jennifer sobbed.
Martin: You are too old to be rocked in a cradle. You are too old to write pothooks and hangers, and too old, alas, to steal pickles and jam when the house is abed. Yet there are still a few things you might do if—
Jennifer: Oh, if?
Martin: If you could find a friend as old as yourself, or even a little older, to help you.
Jennifer: But think how old h—h—h— the friend would have to be.
Martin: What would that matter? For all grass is green enough if it not near grass that looks greener.
Jennifer: Oh, is this true?
Martin: It is indeed. And I believe too that were your friend's hair red enough, and your friend's freckled nose snub enough, since youth resides long in these qualities, you might even, with such a companion, begin once more to steal pickles and jam by night, to learn your pothooks and hangers, and even in time to be rocked asleep by a cradle.
Jennifer: D-d-dear Master Pippin.
Martin: They look quite green, don't they?
And he laid the two blades side by side on her palm, and Jennifer, whose voice once more would not serve her, nodded and put the two blades in her pocket. Then Martin took out his handkerchief and very carefully dried her eyes and cheeks, saying as he did so, "Now that I have explained this to your satisfaction, won't you, please, explain something to mine?"
Jennifer: I will if I can.
Martin: Then explain what it is you have against men.
Jennifer: I don't know how to tell you, it is so terrible.
Martin: I will try to bear it.
Jennifer: They say women cannot—cannot—
Martin: Cannot?
Jennifer: Keep secrets!
Martin: Men say so?
Jennifer: Yes!
Martin: MEN say so?
Jennifer: They do, they do!
Martin: Men! Oh, Jupiter! if this were true—but it is not—these men would be blabbing the greatest of secrets in saying so. If I had a secret—but I have not—do you think I would trust it to a man? Not I! What does a man do with a secret? Forgets it, throws it behind him into some empty chamber of his brain and lets the cobwebs smother it! buries it in some deserted corner of his heart, and lets the weeds grow over it! Is this keeping a secret? Would you keep a garden or a baby so? I will a thousand times sooner give my secret to a woman. She will tend it and cherish it, laugh and cry with it, dress it in a new dress every day and dandle it in the world's eye for joy and pride in it—nay, she will bid the whole world come into her nursery to admire the pretty secret she keeps so well. And under her charge a little secret will grow into a big one, with a hundred charms and additions it had not when I confided it to her, so that I shall hardly know it again when I ask for it: so beautiful, so important, so mysterious will it have become in the woman's care. Oh, believe me, Mistress Jennifer, it is women who keep secrets and men who neglect them.
Jennifer: If I had only thought of these things to say! But I am not clever at argument like men.
Martin: I suspect these clever arguers. They can always find the right thing to say, even if they are in the wrong. Women are not to be blamed for washing their hands of them for ever.
Jennifer: I know. Yet I cannot help wondering who bakes them gingerbread for Sunday.
Martin: Let them go without. They do not deserve gingerbread.
Jennifer: I know, I know. But they like it so much. And it is nice making it, too.
Martin: Then I suppose it will have to be made till the last of Sundays. What a bother it all is.
Jennifer: I know. Good night, dear Master Pippin.
Martin: Dear milkmaid, good night. There lie your fellows, careless of the color of the grass they lie on, and of the years that lie on them. They have forsworn the baking of cakes, the eating of which begets dreams, to which women are not given. Go lie with them, and be if you can as careless and dreamless as they are.
And then, seeing the tears refilling her eyes, he hastily pulled out his handkerchief again and wiped them as they fell, saying, "But if you cannot—if you cannot (don't cry so fast!)—if you cannot, then give me your key (dear Jennifer, please dry up!) to Gillian's Well-House, because you were glad that my tale ended gladly, and also because all lovers, no matter of what age, are green enough, and chiefly because my handkerchief's sopping."
Then Jennifer caught his hands in hers and whispered, "Oh, Martin! are they? ALL lovers?—are they green enough?"
"God help them, yes!" said Martin Pippin.
She dropped his hands, leaving her key in them, and looked up at him with wet lashes, but happiness behind them. So he stooped and kissed the last tears from her eyes. Since his handkerchief had become quite useless for the purpose.
And she stole back to her place, and he lay down in his, and Jennifer dreamed that she was baking gingerbread, and Martin that he was eating it.
"Maids! maids! maids!"
It was Old Gillman on the heels of dawn.
"A pest on him and all farmers," groaned Martin, "who would harvest men's slumbers as soon as they're sown."
"Get into hiding!" commanded Joscelyn.
"I will not budge," said Martin. "I am going to sleep again. For at that moment I had a lion in one hand and a unicorn in the other—"
"WILL you conceal yourself!" whispered Joscelyn, with as much fury as a whisper can compass.
"And the lion had comfits in his crown, and the unicorn a gilded horn. And both were so sticky and spicy and sweet—"
Joscelyn flung herself upon her knees before him, spreading her yellow skirts which barely concealed him, as Old Gillman thrust his head through the hawthorn gap.
"Good morrow, maids," he grunted.
"—that I knew not, dear Mistress Joscelyn," murmured Martin, "which to bite first."
"Good morrow, master!" cried the milkmaids loudly; and they fluttered their petticoats like sunshine between the man at the hedge and the man in the grass.
"Is my daughter any merrier this morning?"
"No, master," said Jennifer, "yet I think I see smiles on their way."
"If they lag much longer," muttered the farmer, "they'll be on the wrong side of her mouth when they do come. For what sort of a home will she return to?—a pothouse! and what sort of a father?—a drunkard! And the fault's hers that deprives him of the drink he loved in his sober days. Gillian!" he exclaimed, "when will ye give up this child's whim to learn by experience, and take an old man's word for it?"
But Gillian was as deaf to him as to the cock crowing in the barnyard.
"Come fetch your portion," said Old Gillman to the milkmaids, "since there's no help for it. And good day to ye, and a better morrow."
"Wait a bit, master!" entreated Jennifer, "and tell me if Daisy, my Lincoln Red, lacks for anything."
"For nothing that Tom can help her to, maid. But she lacks you, and lacking you, her milk. So that being a cow she may be said to lack everything. And so do I, and the men, and the farm—ruin's our portion, nothing but rack and ruin."
Saying which he departed.
"To breakfast," said Martin cheerfully.
"Suppose you'd been seen," scolded Joscelyn.
"Then our tales would have been at an end," said Martin. "Would this have distressed you?"
"The sooner they're ended the better," said Joscelyn, "if you can do nothing but babble of sticky unicorns."
"It was fresh from the oven," explained Martin meekly. "I wish we could have gingerbread for breakfast instead of bread."
"Do not be sure," said Joscelyn severely, "that you will get even bread."
"I am in your hands," said Martin, "but please be kinder to the ducks."
Joscelyn, all of a fluster, then put new bread in the place of Gillian's old; but her annoyance was turned to pleasure when she discovered that the little round top of yesterday's loaf had entirely disappeared.
"Upon my word!" cried she, "the cure is taking effect."
"I believe you are right," said Martin. "How sorry the ducks will be."
They quickly fed the ducks, and then themselves; and Martin received his usual share, Joscelyn having so far relented that she even advised him as to the best tree for apples in the whole orchard.
After breakfast Martin found six pair of eyes fixed so earnestly upon him that he began to laugh.
"Why do you laugh?" asked little Joan.
"Because of my thoughts," said he. So she took a new penny from her pocket and gave it to him.
"I was thinking," said Martin, "how strange it is that girls are all so exactly alike."
"Oh!" cried six different voices in a single key of indignation.
"What a fib!" said Joyce. "I am like nobody but me."
"Nor am!" cried all the others in a breath.
"Yet a moment ago," said Martin, "you, Mistress Joyce, were wondering with all your might what diversion I had hit upon for this morning. And so were Jane and Jessica and Jennifer and Joan and Joscelyn."
"I was NOT!" cried six voices at once.
"What, none of you?" said Martin. "Did I not say so?"
And they were very provoked, not knowing what to answer for fear it might be on the tip of her neighbor's tongue. So they said nothing at all, and with one accord tossed their heads and turned their backs on him. And Martin laughed, leaving them to guess why. On which, greatly put out, every girl without even consulting one another they decided to have nothing further to do with him, and each girl went and sat under a different apple-tree and began to do her hair.
"Heigho!" said Martin. "Then this morning I must divert myself." And he began to spin his golden penny in the sun, sometimes spinning it very dexterously from his elbow and never letting it fall. But the girls wouldn't look, or if they did, it was through stray bits of their hair; when they could not be suspected of looking.
"I shall certainly lose this penny," communed Martin with himself, quite audibly, "if somebody does not lend me a purse to keep it in." But nobody offered him one, so he plucked a blade of Shepherd's Purse from the grass, soliloquizing, "Now had I been a shepherd, or had the shepherd's name been Martin, here was my purse to my hand. And then, having saved my riches I might have got married. Yet I never was a shepherd, nor ever knew a shepherd of my name; and a penny is in any case a great deal too much money for a man to marry on, be he a shepherd or no. For it is always best to marry on next-to-nothing, from which a penny is three times removed."
Then he went on spinning his penny in the air again, humming to himself a song of no value, which, so far as the girls could tell for the hair over their ears, went as follows:
If I should be so lucky
As a farthing for to find.
I wouldn't spend the farthing
According to my mind,
But I'd beat it and I'd bend it
And I'd break it into two,
And give one half to a Shepherd
And the other half to you.
And as for both your fortunes,
I'd wish you nothing worse
Than that YOUR half and HIS half
Should lie in the Shepherd's Purse.
At the end of the song he spun the penny so high that it fell into the Well-House; and endeavoring to catch it he flung the spire of wild-flower after it, and so lost both. And nobody took the least notice of his song or his loss.
Then Martin said, "Who cares?" and took a new clay pipe and a little packet from his pocket; and he wandered about the orchard till he had found an old tin pannikin, and he scooped up some water from the duckpond and made a lather in it with the soap in the packet, and sat on the gate and blew bubbles. The first bubble in the pipe was always crystal, and sometimes had a jewel hanging from it which made it fall to the earth; and the second was tinged with color, and the third gleamed like sunset, or like peacocks' wings, or rainbows, or opals. All the colors of earth and heaven chased each other on their surfaces in all the swift and changing shapes that tobacco smoke plays at on the air; but of all their colors they take the deepest glow of one or two, and now Martin would blow a world of flame and orange through the trees, or one of blue and gold, or another of green and rose. And, as he might have watched his dreams, he watched the bubbles float away; and break. But one of the loveliest at last sailed over the Well-House and between the ropes of the swing and among the fruit-laden boughs, miraculously escaping all perils; and over the hedge, where a small wind bore it up and up out of sight. And Martin, who had been looking after it with a rapt gaze, sighed, "Oh!" And six other "Ohs!" echoed his. Then he looked up and saw the six milkmaids standing quite close to him, full of hesitation and longing. So he took six more pipes from his pockets, and soon the air was glistening with bubbles, big and little. Sometimes they blew the bubbles very quickly, shaking the tiny globes as fast as they could from the bowl, till the air was filled with a treasure of opals and diamonds and moonstones and pearls, as though the king of the east had emptied his casket there. And sometimes they blew steadily and with care, endeavoring to create the best and biggest bubble of all; but generally they blew an instant too long, and the bubble burst before it left the pipe. Whenever a great sphere was launched the blower cried in ecstasy, "Oh, look at mine!" and her comrades, merely glancing, cried in equal ecstasy, "Yes, but see mine!" And each had a moment's delight in the others' bubbles, but everlasting joy in her own, and was secretly certain that of all the bubbles hers were the biggest and brightest. The biggest and brightest of all was really blown by little Joan: as Martin, in a whisper, assured her. He whispered the same thing, however, to each of her friends, and for one truth told five lies. Sometimes they played together, taking their bubbles delicately from one pipe to another, and sometimes blew their bubbles side by side till they united, and made their venture into the world like man and wife. And often they put all their pipes at once into the pannikin, and blew in the water, rearing a great palace of crystal hemispheres, that rose until it hit their chins and cheeks and the tips of their noses, and broke on them, leaving on their fair skin a trace of glistening foam. And as the six laughing faces bent over the pannikin on his knees, Martin observed that Joscelyn's hair was coiled like two great lovely roses over her ears, and that Joyce's was in clusters of ringlets, and that Jane's was folded close and smooth and shining round her small head, and that Jessica's was tucked under like a boy's, while Jennifer's lay in a soft knot on her neck. But little Joan's was hanging still in its plaits over her shoulders, and one thick plait was half undone, and the loose hair got in her own and everybody's way, and was such a nuisance that Martin was obliged at last to gather it in his hand and hold it aside for the sake of the bubble-blowers. And when they lifted their heads he was looking at them so gravely that Joyce laughed, and Jessica's eyes were a question, and Jane looked demure, and Jennifer astonished, and Joscelyn extremely composed and indifferent. And little Joan blushed. To cover her blushing she offered him another penny.
"I was thinking," said Martin, "how strange it is that girls are so absolutely different."
Then six demure shadows appeared at the very corners of their mouths, and they rose from their knees and said with one accord, "It must be dinner-time." And it was.
"Bread is a good thing," said Martin, twirling a buttercup as he swallowed his last crumb, "but I also like butter. Do not you, Mistress Joscelyn?"
"It depends on who makes it," said she. "There is butter and butter."
"I believe," said Martin, "that you do not like butter at all."
"I do not like other people's butter," said Joscelyn.
"Let us be sure," said Martin. And he twirled his buttercup under her chin. "Fie, Mistress Joscelyn!" he cried. "What a golden chin! I never saw any one so fond of butter in all my days."
"Is it very gold?" asked Joscelyn, and ran to the duckpond to look, but couldn't see because she was on the wrong side of the gate.
"Do I like butter?" cried Jessica.
"Do I?" cried Jennifer.
"Do I?" cried Joyce.
"Do I?" cried Jane.
"Oh, do I?" cried Joan.
"We'll soon find out," said Martin, and put buttercups under all their chins, turn by turn. And they all liked butter exceedingly.
"Do YOU like butter, Master Pippin?" asked little Joan.
"Try me," said he.
And six buttercups were simultaneously presented to his chin, and it was discovered that he liked butter the best of them all.
Then every girl had to prove it on every other girl, and again on Martin one at a time, and he on them again. And in this delicious pastime the afternoon wore by, and evening fell, and they came golden-chinned to dinner.
Supper was scarcely ended—indeed, her mouth was still full—when Jessica, looking straight at Martin, said, "I'm dying to swing."
"I never saved a lady's life easier," said Martin; and in one moment she found herself where she wished to be, and in the next saw him close beside her on the apple-bough. The five other girls went to their own branches as naturally as hens to the roost. Joscelyn inspected them like a captain marshalling his men, and when each was armed with an apple she said:
"We are ready now, Master Pippin."
"I wish I were too," said he, "but my tale has taken a fit of the shivers on the threshold, like an unexpected guest who doubts his welcome."
"Are we not all bidding it in?" said Joscelyn impatiently.
"Yes, like sweet daughters of the house," said Martin. "But what of the mistress?" And he looked across at Gillian by the well, but she looked only into the grass and her thoughts.
"Let the daughters do to begin with," said Joscelyn, "and make it your business to stay till the mistress shall appear."
"That might be to outstay my welcome," said Martin, "and then her appearance would be my discomfiture. For a hostess has, according to her guests, as many kinds of face as a wildflower, according to its counties, names."
"Some kinds have only one name," said Jessica, plucking a stalk crowned with flowers as fine as spray. "What would you call this but Cow Parsley?"
"If I were in Anglia," said Martin, "I would call it Queen's Lace."
"That's a pretty name," said Jessica.
"Pretty enough to sing about," said Martin; and looking carelessly at the Well-House he thrummed his lute and sang—
The Queen netted lace
On the first April day,
The Queen wore her lace
In the first week of May,
The Queen soiled her lace
Ere May was out again,
So the Queen washed her lace
In the first June rain.
The Queen bleached her lace
On the first of July,
She spread it in the orchard
And left it there to dry,
But on the first of August
It wasn't in its place
Because my sweetheart picked it up
And hung it o'er her face.
She laughed at me, she blushed at me,
With such a pretty grace
That I kissed her in September
Through the Queen's own lace.
At the end of the song Gillian sat up in the grass, and looked with all her heart over the duckpond.
Joscelyn: I find your songs singularly lacking in point, singer.
Martin: You surprise me, Mistress Joscelyn. The kiss was the point.
Joscelyn: It is like you to think so. It is just like you to think a—a—a—
Martin: —kiss—
Joscelyn: Sufficient conclusion to any circumstances.
Martin: Isn't it?
Joscelyn: My goodness! You might as soon ask, is a peardrop sufficient for a body's dinner.
Martin: It would suffice me. I love peardrops. But then I am a man. Women doubtless need more substance, being in themselves more insubstantial. Now as to your quarrel with my song—
Joscelyn: It is of no consequence. You raise expectations which you do not fulfill. But it is not of the least consequence.
Martin: Dear Mistress Joscelyn, my only desire is to please you. We will not conclude on a kiss. You shall fulfill your own expectations.
Joscelyn: Mine?—I have no expectations whatever.
Martin: But I have disappointed you. What shall I do with my sweetheart? Shall she be whipped for her theft? Shall she be shut in a dungeon? Shall she be thrown before elephants? Choose your conclusion.
Joan: But, Master Pippin!—why must the poor sweetheart be punished? I am sure Joscelyn never wished her to be punished. There are other conclusions.
Martin: Dunderhead that I am, I can't think of any! What, Mistress Joscelyn, was the conclusion you expected?
Joscelyn: I tell you, I expected none!
Joan: Why, Master Pippin! I should have fancied that, seeing the dear sweetheart had hung the veil over her face, she might—
Martin: Yes?
Joan: Be expected—
Martin: Yes!
Joan: To be about to be—
Joscelyn: I am sick to death of this silly sweetheart. And since our mistress appears to be listening with both her ears, it would be more to the point to begin whatever story you propose to relate to-night, and be done with it.
Martin: You are always right. Therefore add your ears to hers, while I tell you the tale of Open Winkins.
Story DNA
Moral
Love and dreams allow individuals to perceive enduring beauty and truth in each other, transcending superficial changes like age or external circumstances.
Plot Summary
After a previous story, Martin and the milkmaids discuss the nature of dreams and reality, with Martin suggesting that love allows one to see enduring beauty. Jennifer, one of the girls, reveals her fear of growing old at nineteen, which Martin gently assuages by emphasizing the subjective nature of youth and the importance of companionship. They then engage in lighthearted debates about women keeping secrets and play simple games like blowing bubbles and testing who 'likes butter' with buttercups. The interlude concludes with Martin singing a song that sparks a debate with Joscelyn about story conclusions, ultimately leading to the promise of a new tale, 'Open Winkins,' as Gillian, the 'mistress,' finally appears to be listening.
Themes
Emotional Arc
contemplation to gentle affection
Writing Style
Narrative Elements
Cultural Context
The interlude reflects a pastoral, pre-industrial setting, common in early 20th-century English children's literature, with a focus on simple pleasures and philosophical discussions.
Plot Beats (14)
- The milkmaids and Martin discuss the previous story, pondering the nature of reality, dreams, and how lovers perceive each other.
- Martin suggests that men are dreamers who see youth in age, while Joscelyn asserts women are not given to dreams.
- Jennifer, one of the milkmaids, begins to weep, prompting Martin to ask why.
- Jennifer confesses her distress about turning nineteen, fearing she is 'too old'.
- Martin reassures Jennifer, explaining that age is relative and that with a suitable companion, she can recapture youthful joys.
- Jennifer and Martin then discuss the stereotype that women cannot keep secrets, with Martin humorously defending women's ability to cherish secrets.
- The group plays with soap bubbles, each girl delighting in her own and comparing them, while Martin subtly flatters each one.
- Martin observes the distinct hairstyles and personalities of each girl as they play.
- The girls play a game with buttercups, discovering that everyone, including Martin, 'likes butter' (has a golden chin).
- Jessica expresses a desire to swing, and Martin joins the girls on the apple boughs.
- Martin hesitates to tell his next story, feeling it needs the 'mistress' (Gillian) to be fully present.
- Martin sings a song about 'Queen's Lace' and a kiss, which Joscelyn criticizes for its simple conclusion.
- Martin playfully challenges Joscelyn to choose a more dramatic ending for his song's sweetheart.
- Joscelyn, impatient, urges Martin to begin the next story, 'Open Winkins,' as Gillian appears to be listening.
Characters
Jessica ◆ supporting
A young woman of average height and build, with a pleasant, open face. Her complexion is fair, likely from a rural English setting.
Attire: Simple, practical attire suitable for a milkmaid in an English rural setting, likely a linen smock or dress, possibly with an apron. Colors would be muted, natural dyes.
Wants: To understand the stories and enjoy the company of her friends.
Flaw: Can be easily swayed by the emotional stakes of a story, showing anxiety about negative outcomes.
Remains consistent as an engaged listener and participant in the group's activities.
Engaged, curious, and somewhat anxious. She expresses concern about the story's outcome and is eager to participate in activities.
Image Prompt & Upload
A young English peasant woman of average height and build, standing upright, facing forward, full body visible from head to toe. She has a round face, clear eyes, and fair skin with a healthy flush. Her light brown hair is neatly braided and pinned up. She wears a simple, long-sleeved cream linen dress with a blue wool apron tied over it. Her expression is one of eager curiosity, with a slight smile. Plain white background, full body visible head to toe, single figure, no watermark, no text, no signature.
Jane ◆ supporting
A young woman of average height and build, with a demure and thoughtful demeanor. Her complexion is fair.
Attire: Simple, practical attire suitable for a milkmaid in an English rural setting, likely a linen smock or dress, possibly with an apron. Colors would be muted, natural dyes.
Wants: To understand the complexities of human nature and the deeper truths behind stories.
Flaw: Her analytical nature can make her overly critical or dismissive of simpler emotional conclusions.
Remains consistent as the intellectual and questioning member of the group.
Thoughtful, analytical, and somewhat skeptical. She questions the deeper meanings of stories and is not easily convinced by simple happy endings.
Image Prompt & Upload
A young English peasant woman of average height and build, standing upright, facing forward, full body visible from head to toe. She has a gentle, oval face, thoughtful brown eyes, and fair skin. Her dark brown hair is neatly braided and coiled at the back of her head. She wears a long-sleeved grey linen dress with a dark green wool apron. Her expression is demure and contemplative, with a slight tilt of her head. Plain white background, full body visible head to toe, single figure, no watermark, no text, no signature.
Martin ★ protagonist
A young man, likely of a lean build, with an engaging and somewhat mischievous demeanor. His movements are agile, as he easily gets onto an apple bough.
Attire: Simple, practical, yet perhaps slightly more distinctive than the girls', befitting a singer. Likely linen or wool tunic and breeches, possibly with a jerkin. Colors would be earthy but could have a touch of something more vibrant. He carries a lute.
Wants: To tell stories, entertain, and provoke thought. He seems to genuinely care for the emotional well-being of the girls, especially Jennifer.
Flaw: Can be overly philosophical or abstract, sometimes frustrating his audience (like Joscelyn).
Remains consistent as the storyteller and philosophical guide, but shows a particular tenderness and concern for Jennifer.
Charming, philosophical, playful, and observant. He enjoys intellectual banter but also has a deep understanding of human emotions, particularly love.
Image Prompt & Upload
A young English man of lean build and average height, standing upright, facing forward, full body visible from head to toe. He has an expressive, slightly angular face, bright, observant hazel eyes, and fair skin. His light brown hair is slightly wavy and falls casually around his ears. He wears a simple, long-sleeved cream linen tunic, dark brown wool breeches, and a practical leather jerkin. He holds a small, well-worn wooden lute in his left hand, resting against his hip. His expression is charming and thoughtful, with a hint of a playful smile. Plain white background, full body visible head to toe, single figure, no watermark, no text, no signature.
Joscelyn ◆ supporting
A young woman of confident posture, likely of average height and a sturdy build, reflecting her practical nature. Her complexion is fair.
Attire: Simple, practical attire suitable for a milkmaid in an English rural setting, likely a linen smock or dress, possibly with an apron. Colors would be muted, natural dyes.
Wants: To maintain a sense of practicality and avoid what she perceives as frivolous dreaming or sentimentality.
Flaw: Her extreme practicality makes her dismissive of imagination, emotion, and the deeper, less tangible aspects of life.
Remains consistent as the most critical and practical member of the group, challenging Martin's romantic notions.
Practical, impatient, skeptical, and somewhat cynical. She dislikes sentimentality and abstract concepts, preferring directness and tangible reality.
Image Prompt & Upload
A young English peasant woman of sturdy build and average height, standing upright, facing forward, full body visible from head to toe. She has a composed, slightly square face, sharp, discerning grey eyes, and fair skin. Her dark brown hair is pulled back tightly into a neat bun. She wears a practical, long-sleeved dark blue linen dress with a plain grey wool apron. Her expression is one of composed indifference, with a hint of impatience. Plain white background, full body visible head to toe, single figure, no watermark, no text, no signature.
Jennifer ◆ supporting
A young woman, described as being 'nineteen in November,' suggesting a youthful and perhaps slightly delicate build. Her complexion is fair.
Attire: Simple, practical attire suitable for a milkmaid in an English rural setting, likely a linen smock or dress, possibly with an apron. Colors would be muted, natural dyes.
Wants: To hold onto youth and the innocence associated with it; to find understanding and comfort.
Flaw: Her deep sensitivity and tendency to internalize anxieties can make her vulnerable and prone to tears.
Undergoes a brief emotional arc, moving from quiet distress about her age to a moment of shared vulnerability and comfort with Martin.
Sensitive, emotional, and prone to dreaming. She is easily moved by stories and her own anxieties about growing older.
Image Prompt & Upload
A young English peasant woman of slender build and average height, standing upright, facing forward, full body visible from head to toe. She has a soft, oval face, large, expressive blue eyes, and fair skin with a delicate flush. Her light blonde hair is in two soft braids that frame her face. She wears a simple, long-sleeved pale green linen dress with a cream-colored apron. Her expression is gentle and slightly melancholic, with a hint of shyness. Plain white background, full body visible head to toe, single figure, no watermark, no text, no signature.
Joan ○ minor
A young girl, described as 'little Joan', suggesting she is the youngest of the group. Her complexion is fair.
Attire: Simple, practical attire suitable for a young girl in an English rural setting, likely a linen smock or dress, possibly with an apron. Colors would be muted, natural dyes.
Wants: To see good prevail and to understand stories in a straightforward, positive way.
Flaw: Her innocence can make her naive about the complexities or darker aspects of stories.
Remains consistent as the innocent and optimistic member of the group.
Innocent, empathetic, and optimistic. She believes in happy endings and dislikes the idea of punishment or negative outcomes.
Image Prompt & Upload
A young English peasant girl, appearing around 8-10 years old, standing upright, facing forward, full body visible from head to toe. She has a round, innocent face, wide, curious brown eyes, and fair skin with rosy cheeks. Her light brown hair is in two short, neat pigtails tied with simple ribbons. She wears a simple, knee-length yellow linen smock dress with a small white apron. Her expression is one of innocent curiosity, with a slight blush on her cheeks. Plain white background, full body visible head to toe, single figure, no watermark, no text, no signature.
Joyce ○ minor
A young woman of average height and build, with a generally cheerful disposition. Her complexion is fair.
Attire: Simple, practical attire suitable for a milkmaid in an English rural setting, likely a linen smock or dress, possibly with an apron. Colors would be muted, natural dyes.
Wants: To enjoy the stories and the company of her friends.
Flaw: Less inclined to deep analysis or questioning, preferring simpler, happier conclusions.
Remains consistent as an agreeable and optimistic member of the group.
Optimistic and agreeable. She tends to agree with positive outcomes and enjoys the shared activities.
Image Prompt & Upload
A young English peasant woman of average height and build, standing upright, facing forward, full body visible from head to toe. She has a pleasant, oval face, clear blue eyes, and fair skin. Her light brown hair is pulled back into a simple braid. She wears a long-sleeved light blue linen dress with a white apron. Her expression is cheerful and agreeable, with a gentle smile. Plain white background, full body visible head to toe, single figure, no watermark, no text, no signature.
Gillian ○ minor
A young woman, likely of average height and build, with a contemplative and perhaps slightly melancholic air. She is by the well, suggesting a connection to water or a quiet nature. Her complexion is fair.
Attire: Simple, practical attire suitable for a milkmaid in an English rural setting, likely a linen smock or dress, possibly with an apron. Colors would be muted, natural dyes.
Wants: Her motivations are not explicitly stated, but she seems to be lost in thought or contemplation.
Flaw: Her reserved nature makes her less engaged with the group's activities and discussions.
Remains consistent as the quiet, observing character.
Quiet, introspective, and perhaps a bit melancholic or reserved. She is an observer rather than an active participant in the banter.
Image Prompt & Upload
A young English peasant woman of average height and slender build, sitting in grass, facing forward, full body visible from head to toe. She has a gentle, oval face, downcast brown eyes, and fair skin. Her long, wavy dark brown hair is loose and falls over her shoulders. She wears a simple, long-sleeved forest green linen dress. Her expression is contemplative and slightly melancholic. Plain white background, full body visible head to toe, single figure, no watermark, no text, no signature.
Locations
Apple-Orchard
A rural orchard, likely in the English countryside, with apple trees where the girls sit on branches and Martin sits on a bough. The ground is covered with grass, and there's a swing. Cow Parsley (Queen's Lace) grows here. It transitions from afternoon to evening, with the moon eventually visible.
Mood: Relaxed, conversational, playful, later becoming more reflective and slightly melancholic for Jennifer, then returning to playful with the buttercup game.
The setting for the entire interlude: the girls and Martin discuss the previous story, play with buttercups, and Martin sings a song. Jennifer reveals her anxieties about age here. It's where the next story is introduced.
Image Prompt & Upload
A sun-dappled English apple orchard in late afternoon, with mature, gnarled apple trees casting long shadows on the lush green grass. Wildflowers like Queen Anne's Lace and buttercups are scattered amongst the blades. A simple wooden swing hangs from a thick branch of a central apple tree. The light is warm and golden, filtering through the leaves, creating a peaceful, slightly nostalgic atmosphere. no border, no frame, no watermark, no text, no signature, edge-to-edge illustration.
Sidlesham Marshes Mill
A mill located on the Sidlesham marshes, a real location in West Sussex, England. Implied to be a traditional English windmill or watermill, perhaps weathered by time, standing in a marshy, open landscape.
Mood: Mysterious, historical, evocative of past events and enduring secrets.
Martin refers to this mill as the enduring location of the previous story's events, suggesting it holds the 'secrets' of the lovers and the 'immortal grain' of their tale.
Image Prompt & Upload
A weathered, traditional English windmill stands stoically on the flat, reedy Sidlesham marshes under a vast, pale sky. The ground is a mosaic of damp earth and low-growing marsh vegetation, with hints of standing water reflecting the sky. The mill's wooden sails are still, and its brick or timber structure shows signs of age. A sense of quiet solitude pervades the scene. no border, no frame, no watermark, no text, no signature, edge-to-edge illustration.
Duckpond
A small pond, likely within or adjacent to the orchard, where Joscelyn runs to check her reflection. There is a gate nearby.
Mood: Playful, a place for childish curiosity.
Joscelyn runs to the duckpond to see if her chin is 'golden' from the buttercup game, but is on the wrong side of the gate. Gillian later looks over it with 'all her heart'.
Image Prompt & Upload
A small, placid duckpond nestled at the edge of an English orchard, its surface reflecting the soft, late afternoon light. Reeds and wild grasses grow along its muddy banks. A rustic wooden gate, slightly ajar, stands nearby, separating the pond from the main orchard path. The water is still, with a few lily pads floating gently. no border, no frame, no watermark, no text, no signature, edge-to-edge illustration.
Well-House
A small structure housing a well, likely made of stone or timber, situated near the orchard. Gillian is observed by it.
Mood: Quiet, contemplative, a place for solitude.
Martin glances carelessly at the Well-House while singing, observing Gillian by it, lost in her thoughts.
Image Prompt & Upload
A quaint, stone-built well-house with a simple wooden roof stands quietly at the periphery of an English orchard. The well opening is covered by a small, weathered timber lid. Lush green grass surrounds the structure, catching the last rays of the golden hour. The atmosphere is one of peaceful solitude and rustic charm. no border, no frame, no watermark, no text, no signature, edge-to-edge illustration.