THE CLOCKS of RONDAINE
by Frank R. Stockton · from Fanciful tales
Adapted Version
Once, in a town, there were many clocks. The town was by a river. The people were happy. They liked the clocks. The clocks made sounds. Some clocks were big. Some clocks were small. A clock was on a church. A clock was on a bridge. A clock was in a tower. The clocks were not always the same. But the people did not mind. The sounds were nice. The town was a happy place.
A girl named Arla lived in the town. She had a little clock. It was a pretty clock. Arla loved her clock. She thought it was always right. In the morning, Arla woke up early. She lay in her bed. She listened to the town clocks. She listened to them strike. Then she looked at her pretty clock. Her clock told the true time. It was her special clock.
One day, Arla saw a thing. The town clocks were not the same. One clock said one time. One more clock said a different time. Arla felt worried. How did people know the right time? What about big days? She wanted to help. She wanted the clocks to be right. She wanted to fix them.
Arla went to the church. She talked to the church man. "Your clock is wrong," she said. The church man smiled. "My clock is good," he said. "It is good enough." He did not want to change it. He was happy with his clock.
Arla went to a little house. An old lady lived there. Her clock struck last. "Your clock is wrong," Arla said. The old lady looked sad. "This was my mother's clock," she said. "I will not change it." She loved her clock. It was old and special.
Arla felt sad. She went to the museum. A clock man worked there. He took care of a loud donkey clock. "Can you fix the donkey clock?" Arla asked. "It is very wrong."
The clock man was kind. "The donkey clock is old," he said. "The weather makes it wrong. When it is cold, it is slow. When it is warm, it is fast. I cannot make it new. It is hard to fix."
Arla had an idea. She showed him her pretty clock. "My clock is right," she said. "I use it to check the other clocks."
The clock man took her clock. He looked at it. He took it outside. He came back. "I am sorry," he said. "Your clock is a little slow. The weather can change it too. It is not always right."
Arla was surprised. Her clock was not always right! She felt sad. "So some clocks were right," she thought. "And my clock was wrong."
Arla walked home. She thought and thought. "It is okay," she said to herself. "The people are happy. I do not need to check." She felt calm.
That night, Arla slept well. She did not wake up early. She did not listen for the clocks. She was warm in her bed. She was happy.
Weeks later, mom asked a question. "Do you wake up early?" she asked.
"No, Mom," said Arla. "I sleep with my window closed. I am not cold. I do not think about the clocks."
Arla kept her pretty clock. She did not take it to the sun-dial. "Maybe you are right today," she would say to it. She liked her clock as it was. Arla was happy and content. She smiled and played with her clock.
Original Story
THE CLOCKS OF RONDAINE
Centuries ago, there stood on the banks of a river a little town called Rondaine. The river was a long and winding stream which ran through different countries, and was sometimes narrow and swift, and sometimes broad and placid; sometimes hurrying through mountain passes, and again meandering quietly through fertile plains; in some places of a blue color and almost transparent, and in others of a dark and sombre hue; and so it changed until it threw itself into a warm, far-spreading sea.
But it was quite otherwise with the little town. As far back as anybody could remember, it had always been the same that it was at the time of our story; and the people who lived there could see no reason to suppose that it would ever be different from what it was then. It was a pleasant little town, its citizens were very happy; and why there should be any change in it, the most astute old man in all Rondaine could not have told you.
ARLA AND THE SACRISTAN.
If Rondaine had been famed for anything at all, it would have been for the number of its clocks. It had many churches, some little ones in dark side streets, and some larger ones in wider avenues, besides here and there a very good-sized church fronting on a park or open square; and in the steeple of each of these churches there was a clock.
There were town buildings, very old ones, which stood upon the great central square. Each of these had a tower, and in each tower was a clock.
Then there were clocks at street corners, and two clocks in the market-place, and clocks over shop-doors, a clock at each end of the bridge, and several large clocks a little way out of town. Many of these clocks were fashioned in some quaint and curious way. In one of the largest a stone man came out and struck the hours with a stone hammer, while a stone woman struck the half-hours with a stone broom; and in another an iron donkey kicked the hours on a bell behind him.
It would be impossible to tell all the odd ways in which the clocks of Rondaine struck; but in one respect they were alike: they all did strike. The good people of the town would not have tolerated a clock which did not strike.
It was very interesting to lie awake in the night and hear the clocks of Rondaine strike. First would come a faint striking from one of the churches in the by-streets, a modest sound, as if the clock was not sure whether it was too early or not; then from another quarter would be heard a more confident clock striking the hour clearly and distinctly.
When they were quite ready, but not a moment before, the seven bells of the large church on the square would chime the hour; after which, at a respectful interval of time, the other church clocks of the town would strike. After the lapse of three or four minutes, the sound of all these bells seemed to wake up the stone man in the tower of the town-building, and he struck the hour with his hammer. When this had been done, the other town-clocks felt at liberty to strike, and they did so. And when every sound had died away, so that he would be certain to be heard if there was anyone awake to hear, it would be very likely that the iron donkey would kick out the hour on his bell. But there were times when he kicked before any of the clocks began to strike.
One by one the clocks on the street corners struck, the uptown ones first, and afterward those near the river. These were followed by the two clocks on the bridge, the one at the country end waiting until it was quite sure that the one at the town end had finished. Somewhat later would be heard the clock of Vougereau, an old country-house in the suburbs. This clock, a very large one, was on the top of a great square stone tower, and from its age it had acquired a habit of deliberation; and when it began to strike people were very apt to think that it was one o’clock, until after an interval another stroke would tell them that it was later or earlier than that, and if they really wanted to know what hour the old clock was striking they must give themselves time enough to listen until they were entirely certain that it had finished.
The very last clock to strike in Rondaine was one belonging to a little old lady with white hair, who lived in a little white house in one of the prettiest and cleanest streets in the town. Her clock was in a little white tower at the corner of her house, and was the only strictly private clock which was in the habit of making itself publicly heard. Long after every other clock had struck, and when there was every reason to believe that for some time nothing but half-hours would be heard in Rondaine, the old lady’s clock would strike quickly and with a tone that said, “I know I am right, and I wish other people to know it.”
In a small house which stood at a corner of two streets in the town there lived a young girl named Arla. For a year or more this young girl had been in the habit of waking up very early in the morning, sometimes long before daylight, and it had become a habit with her to lie and listen to the clocks. Her room was at the top of the house, and one of its windows opened to the west and another to the south, so that sounds entered from different quarters. Arla liked to leave these windows open so that the sounds of the clocks might come in.
Arla knew every clock by its tone, and she always made it a point to lie awake until she was positively sure that the last stroke of the clock at Vougereau had sounded; but it often happened that sleep overcame her before she heard the clock of the little old lady with white hair. It was so very long to wait for that!
It was not because she wanted to know the hour that Arla used to lie and listen to the clocks. She could tell this from her own little clock in her room. This little clock, which had been given to her when she was a small girl, not only struck the hours and half-hours and quarter-hours, but there was attached to it a very pretty contrivance which also told the time. On the front of the clock, just below the dial, was a sprig of a rosebush beautifully made of metal, and on this, just after the hour had sounded, there was a large green bud; at a quarter past the hour this bud opened a little, so that the red petals could be seen; fifteen minutes later it was a half-blown rose, and at a quarter of an hour more it was nearly full blown; just before the hour the rose opened to its fullest extent, and so remained until the clock had finished striking, when it immediately shut up into a great green bud. This clock was a great delight to Arla; for not only was it a very pleasant thing to watch the unfolding of the rose, but it was a continual satisfaction to her to think that her little clock always told her exactly what time it was, no matter what the other clocks of Rondaine might say.
Arla’s father and mother were thrifty, industrious people, who were very fond of their daughter, and wished her to grow up a thoughtful, useful woman. In the very early morning, listening to the clocks of Rondaine or waiting for them, Arla did a great deal of thinking; and it so happened, on the morning of the day before Christmas, when the stars were bright and the air frosty, and every outside sound very clear and distinct, that Arla began to think of something which had never entered her mind before.
“How in the world,” she said to herself, “do the people of Rondaine know when it is really Christmas? Christmas begins as soon as it is twelve o’clock on Christmas Eve; but as some of the people depend for the time upon one clock and some upon others, a great many of them cannot truly know when Christmas Day has really begun. Even some of the church clocks make people think that Christmas has come, when in reality it is yet the day before. And not one of them strikes at the right time. As for that iron donkey, I believe he kicks whenever he feels like it. And yet there are people who go by him! I know this, for they have told me so. But the little old lady with white hair is worse off than anybody else. Christmas must always come ever so long before she knows it.”
With these thoughts on her mind, Arla could not go to sleep again. She heard all the clocks strike, and lay awake until her own little clock told her that she ought to get up. During this time she had made up her mind what she should do. There was yet one day before Christmas; and if the people of the town could be made to see in what a deplorable condition they were on account of the difference in their clocks, they might have time to set the matter right so that all the clocks should strike the correct hour, and everybody should know exactly when Christmas Day began. She was sure that the citizens had never given this matter proper thought; and it was quite natural that such should be the case, for it was not everyone who was in the habit of lying awake in the very early morning; and in the daytime, with all the out-door noises, one could not hear all the clocks strike in Rondaine. Arla, therefore, thought that a great deal depended upon her, who knew exactly how this matter stood.
When she went down to breakfast she asked permission of her mother to take a day’s holiday. As she was a good girl, and never neglected either her lessons or her tasks, her mother was quite willing to give her the day before Christmas in which she could do as she pleased.
The day was cool, but the sun shone brightly and the air was pleasant. In the country around about Rondaine Christmas-time was not a very cold season. Arla put on a warm jacket and a pretty blue hood, and started out gayly to attend to the business in hand.
Everybody in Rondaine knew her father and mother, and a great many of them knew her, so there was no reason why she should be afraid to go where she chose. In one hand she carried a small covered basket in which she had placed her rose-clock. The works of this little clock were regulated by a balance-wheel, like those of a watch, and therefore it could be carried about without stopping it.
The first place she visited was the church at which she and her parents always attended service. It was a small building in a little square at the bottom of a hill, and, to reach it, one had to go down a long flight of stone steps. When she entered the dimly lighted church, Arla soon saw the sacristan, a pleasant-faced little old man whom she knew very well.
“Good-morning, sir,” said she. “Do you take care of the church clock?”
The sacristan was sweeping the stone pavements of the church, just inside the door. He stopped and leaned upon his broom. “Yes, my little friend,” he said, “I take care of everything here except the souls of the people.”
“Well, then,” said Arla, “I think you ought to know that your clock is eleven minutes too fast. I came here to tell you that, so that you might change it, and make it strike properly.”
The sacristan’s eyes began to twinkle. He was a man of merry mood. “That is very good of you, little Arla; very good indeed. And, now that we are about it, isn’t there something else you would like to change? What do you say to having these stone pillars put to one side, so that they may be out of the way of the people when they come in? Or those great beams in the roof—they might be turned over, and perhaps we might find that the upper side would look fresher than this lower part, which is somewhat time-stained, as you see? Or, for the matter of that, what do you say to having our clock-tower taken down and set out there in the square before the church-door? Then short-sighted people could see the time much better, don’t you think? Now tell me, shall we do all these things together, wise little friend?”
A tear or two came into Arla’s eyes, but she made no answer.
“Good-morning, sir,” she said, and went away.
“I suppose,” she said to herself as she ran up the stone steps, “that he thought it would be too much trouble to climb to the top of the tower to set the clock right. But that was no reason why he should make fun of me. I don’t like him as much as I used to.”
The next church to which Arla went was a large one, and it was some time before she could find the sacristan. At last she saw him in a side chapel at the upper end of the church, engaged in dusting some old books. He was a large man, with a red face, and he turned around quickly, with a stern expression, as she entered.
“Please, sir,” said Arla, “I came to tell you that your church clock is wrong. It strikes from four to six minutes before it ought to; sometimes the one and sometimes the other. It should be changed so that it will be sure to strike at the right time.”
The face of the sacristan grew redder and twitched visibly at her remark.
“Do you know what I wish?” he almost shouted in reply.
“No, sir,” answered Arla.
“I wish,” he said, “that you were a boy, so that I might take you by the collar and soundly cuff your ears, for coming here to insult an officer of the church in the midst of his duties! But, as you are a girl, I can only tell you to go away from here as rapidly and as quietly as you can, or I shall have to put you in the hands of the church authorities!”
Arla was truly frightened, and although she did not run—for she knew that would not be proper in a church—she walked as fast as she could into the outer air.
“What a bad man,” she then said to herself, “to be employed in a church! It surely is not known what sort of a person he is, or he would not be allowed to stay there a day!”
Arla thought she would not go to any more churches at present, for she did not know what sort of sacristans she might find in them.
“When the other clocks in the town all strike properly,” she thought, “it is most likely they will see for themselves that their clocks are wrong, and they will have them changed.”
She now made her way to the great square of the town, and entered the building at the top of which stood the stone man with his hammer. She found the doorkeeper in a little room by the side of the entrance. She knew where to go, for she had been there with her mother to ask permission to go up and see the stone man strike the hour with his hammer, and the stone woman strike the half-hour with her broom.
The doorkeeper was a grave, middle-aged man with spectacles; and, remembering what had just happened, Arla thought she would be careful how she spoke to him.
“If you please, sir,” she said, with a courtesy, “I should like to say something to you. And I hope you will not be offended when I tell you that your clock is not quite right. Your stone man and your stone woman are both too slow; they sometimes strike as much as seven minutes after they ought to strike.”
The grave, middle-aged man looked steadily at her through his spectacles.
“I thought,” continued Arla, “that if this should be made known to you, you would have the works of the stone man and the stone woman altered so that they might strike at the right time. They can be heard so far, you know, that it is very necessary they should not make mistakes.”
“Child,” said the man, with his spectacles still steadily fixed on her, “for one hundred and fifty-seven years the open tower on this building has stood there. For one hundred and fifty-seven years the thunder and the lightning in time of storm have roared and flashed around it, and the sun in time of fair weather has shone upon it. In that century and a half and seven years men and women have lived and have died, and their children and their grandchildren and their great-grandchildren, and even the children of these, have lived and died after them. Kings and queens have passed away, one after another; and all things living have grown old and died, one generation after another, many times. And yet, through all these years, that stone man and that stone woman have stood there, and in storm and in fair weather, by daylight or in the darkness of night, they have struck the hours and the half-hours. Of all things that one hundred and fifty-seven years ago were able to lift an arm to strike, they alone are left. And now you, a child of thirteen, or perhaps fourteen years, come to me and ask me to change that which has not been changed for a century and a half and seven years!”
Arla could answer nothing with those spectacles fixed upon her. They seemed to glare more and more as she looked at them. “Good-morning, sir,” she said, dropping a courtesy as she moved backward toward the door. Reaching it, she turned and hurried into the street.
“If those stone people,” she thought, “have not been altered in all these years, it is likely they would now be striking two or three hours out of the way! But I don’t know. If they kept on going slow for more than a century, they must have come around to the right hour sometimes. But they will have to strike ever and ever so much longer before they come around there again!”
Arla now walked on until she came to a street corner where a cobbler had a little shop. In the angle of the wall of the house, at the height of the second story, was a clock. This cobbler did not like the confined air and poor light of his shop, and whenever the weather allowed he always worked outside on the sidewalk. To-day, although it was winter, the sun shone brightly on this side of the street, and he had put his bench outside, close to his door, and was sitting there, hard at work. When Arla stopped before him he looked up and said, cheerfully:
“Good-morning, Mistress Arla. Do you want them half-soled, or heeled, or a patch put on the toes?”
“My shoes do not need mending,” said Arla. “I came to ask you if you could tell me who has charge of the clock at this corner?”
“I can easily do that,” he said, “for I am the man. I am paid by the year, for winding it up and keeping it in order, as much as I should get for putting the soles, heels, tops, linings, and buckles on a pair of shoes.”
“Which means making them out and out,” said Arla.
“You are right,” said he, “and the pay is not great; but if it were larger, more people might want it and I might lose it; and if it were less, how could I afford to do it at all? So I am satisfied.”
“But you ought not to be entirely satisfied,” said Arla, “for the clock does not keep good time. I know when it is striking, for it has a very jangling sound, and it is the most irregular clock in Rondaine. Sometimes it strikes as much as twenty-five minutes after the hour, and very often it does not strike at all.”
The cobbler looked up at her with a smile. “I am sorry,” he said, “that it has a jangling stroke, but the fashioning of clocks is not my trade, and I could not mend its sound with awl, hammer, or waxed-end. But it seems to me, my good maiden, that you never mended a pair of shoes.”
“No, indeed!” said Arla; “I should do that even worse than you would make clocks.”
“Never having mended shoes, then,” said the cobbler, “you do not know what a grievous thing it is to have twelve o’clock, or six o’clock, or any other hour, in fact, come before you are ready for it. Now, I don’t mind telling you, because I know you are too good to spoil the trade of a hard-working cobbler—and shoemaker too, whenever he gets the chance to be one—that when I have promised a customer that he shall have his shoes or his boots at a certain time of day, and that time is drawing near, and the end of the job is still somewhat distant, then do I skip up the stairway and set back the hands of the clock according to the work that has to be done. And when my customer comes I look up to the clock-face and I say to him, ‘Glad to see you!’ and then he will look up at the clock and will say, ‘Yes, I am a little too soon;’ and then, as likely as not, he will sit down on the doorstep here by me and talk entertainingly; and it may happen that he will sit there without grumbling for many minutes after the clock has pointed out the hour at which the shoes were promised.
“Sometimes, when I have been much belated in beginning a job, I stop the clock altogether, for you can well see for yourself that it would not do to have it strike eleven when it is truly twelve. And so, if my man be willing to sit down, and our talk be very entertaining, the clock being above him where he cannot see it without stepping outward from the house, he may not notice that it is stopped. This once served me very well, for an old gentleman, over-testy and over-punctual, once came to me for his shoes, and looking up at the clock, which I had prepared for him, exclaimed, ‘Bless me! I am much too early!’ And he sat down by me for three-quarters of an hour, in which time I persuaded him that his shoes were far too much worn to be worth mending any more, and that he should have a new pair, which, afterward, I made.”
“I do not believe it is right for you to do that,” said Arla; “but even if you think so, there is no reason why your clock should go wrong at night, when so many people can hear it because of the stillness.”
“Ah, me!” said the cobbler, “I do not object to the clock being as right as you please in the night; but when my day’s work is done, I am in such a hurry to go home to my supper that I often forget to put the clock right, or to set it going if it is stopped. But so many things stop at night—such as the day itself—and so many things then go wrong—such as the ways of evil-minded people—that I think you truly ought to pardon my poor clock.”
“Then you will not consent,” said Arla, “to make it go right?”
“I will do that with all cheerfulness,” answered the cobbler, pulling out a pair of waxed-ends with a great jerk, “as soon as I can make myself go right. The most important thing should always be done first; and, surely, I am more important than a clock!” And he smiled with great good-humor.
Arla knew that it would be of no use to stand there any longer and talk with this cobbler. Turning to go, she said:
“When I bring you shoes to mend, you shall finish them by my clock, and not by yours.”
“That will I, my good little Arla,” said the cobbler, heartily. “They shall be finished by any clock in town, and five minutes before the hour, or no payment.”
Arla now walked on until she came to the bridge over the river. It was a long, covered bridge, and by the entrance sat the bridge-keeper.
“Do you know, sir,” said she, “that the clock at this end of your bridge does not keep the same time as the one at the other end? They are not so very different, but I have noticed that this one is always done striking at least two minutes before the other begins.”
The bridge-keeper looked at her with one eye, which was all he had.
“You are as wrong as anybody can be,” said he. “I do not say anything about the striking, because my ears are not now good enough to hear the clock at the other end when I am near this one; but I know they both keep the same time. I have often looked at this clock and have then walked to the other end of the bridge, and have found that the clock there was exactly like it.”
Arla looked at the poor old man, whose legs were warmly swaddled on account of his rheumatism, and said:
“But it must take you a good while to walk to the other end of the bridge.”
“Out upon you!” cried the bridge-keeper. “I am not so old as that yet! I can walk there in no time!”
Arla now crossed the bridge and went a short distance along a country road until she came to the great stone house known as Vougereau. This belonged to a rich family who seldom came there, and the place was in charge of an elderly man who was the brother of Arla’s mother. When his niece was shown into a room on the ground floor, which served for his parlor and his office, he was very glad to see her; and while Arla was having something to eat and drink after her walk, the two had a pleasant chat.
“I came this time, Uncle Anton,” she said, “not only to see you, but to tell you that the great clock in your tower does not keep good time.”
Uncle Anton looked at her a little surprised.
“How do you know that, my dear?” he said.
Then Arla told him how she had lain awake in the early morning, and had heard the striking of the different clocks. “If you wish to make it right,” said she, “I can give you the proper time, for I have brought my own little clock with me.”
She was about to take her rose-clock out of her basket, when her uncle motioned to her not to do so.
“Let me tell you something,” said he. “The altering of the time of day, which you speak of so lightly, is a very serious matter, which should be considered with all gravity. If you set back a clock, even as little as ten minutes, you add that much to the time that has passed. The hour which has just gone by has been made seventy minutes long. Now, no human being has the right to add anything to the past, nor to make hours longer than they were originally made. And, on the other hand, if you set a clock forward even so little as ten minutes, you take away that much from the future, and you make the coming hour only fifty minutes long. Now, no human being has a right to take anything away from the future, or to make the hours shorter than they were intended to be. I desire, my dear niece, that you will earnestly think over what I have said, and I am sure that you will then see for yourself how unwise it would be to trifle with the length of the hours which make up our day. And now, Arla, let us talk of other things.”
And so they talked of other things until Arla thought it was time to go. She saw there was something wrong in her uncle’s reasoning, although she could not tell exactly what it was, and thinking about it, she slowly returned to the town. As she approached the house of the little old lady with white hair, she concluded to stop and speak to her about her clock. “She will surely be willing to alter that,” said Arla, “for it is so very much out of the way.”
The old lady knew who Arla was, and received her very kindly; but when she heard why the young girl had come to her, she flew into a passion.
“Never, since I was born,” she said “have I been spoken to like this! My great-grandfather lived in this house before me; that clock was good enough for him! My grandfather lived in this house before me; that clock was good enough for him! My father and mother lived in this house before me; that clock was good enough for them! I was born in this house, have always lived in it, and expect to die in it; that clock is good enough for me! I heard its strokes when I was but a little child, I hope to hear them at my last hour; and sooner than raise my hand against the clock of my ancestors, and the clock of my whole life, I would cut off that hand!”
Some tears came into Arla’s eyes; she was a little frightened. “I hope you will pardon me, good madam,” she said, “for, truly, I did not wish to offend you. Nor did I think that your clock is not a good one. I only meant that you should make it better; it is nearly an hour out of the way.”
The sight of Arla’s tears cooled the anger of the little old lady with white hair. “Child,” she said, “you do not know what you are talking about, and I forgive you. But remember this: never ask persons as old as I am to alter the principles which have always made clear to them what they should do, or the clocks which have always told them when they should do it.”
And, kissing Arla, she bade her good-by.
“Principles may last a great while without altering,” thought Arla, as she went away, “but I am sure it is very different with clocks.”
The poor girl now felt a good deal discouraged.
“The people don’t seem to care whether their clocks are right or not,” she said to herself, “and if they don’t care, I am sure it is of no use for me to tell them about it. If even one clock could be made to go properly, it might help to make the people of Rondaine care to know exactly what time it is. Now, there is that iron donkey. If he would but kick at the right hour it would be an excellent thing, for he kicks so hard that he is heard all over the town.”
Determined to make this one more effort, Arla walked quickly to the town-building, at the top of which was the clock with the iron donkey. This building was a sort of museum; it had a great many curious things in it, and it was in charge of a very ingenious man, who was learned and skilful in various ways.
When Arla had informed the superintendent of the museum why she had come to him, he did not laugh at her nor did he get angry. He was accustomed to giving earnest consideration to matters of this sort, and he listened attentively to all that Arla had to say.
“You must know,” he said, “that our iron donkey is a very complicated piece of mechanism. Not only must he kick out the hours, but five minutes before doing so he must turn his head around and look at the bell behind him; and then, when he has done kicking, he must put his head back into its former position. All this action requires a great many wheels and cogs and springs and levers, and these cannot be made to move with absolute regularity. When it is cold, some of his works contract; and when it is warm, they expand; and there are other reasons why he is very likely to lose or gain time. At noon, on every bright day, I set him right, being able to get the correct time from a sun-dial which stands in the court-yard. But his works—which I am sorry to say are not well made—are sure to get a great deal out of the way before I set him again.”
“Then, if there are several cloudy or rainy days together, he goes very wrong indeed,” said Arla.
“Yes, he truly does,” replied the superintendent, “and I am sorry for it. But there is no way to help it except for me to make him all over again at my own expense, and that is something I cannot afford to do. The clock belongs to the town, and I am sure the citizens will not be willing to spend the money necessary for a new donkey-clock; for, so far as I know, every person but yourself is perfectly satisfied with this one.”
“I suppose so,” said Arla, with a sigh; “but it really is a great pity that every striking-clock in Rondaine should be wrong!”
“But how do you know they are all wrong?” asked the superintendent.
“Oh, that is easy enough,” said Arla. “When I lie awake in the early morning, when all else is very still, I listen to their striking, and then I look at my own rose-clock to see what time it really is.”
“Your rose-clock?” said the superintendent.
“This is it,” said Arla, opening her basket and taking out her little clock.
The superintendent took it into his hands and looked at it attentively, both outside and inside. And then, still holding it, he stepped out into the court-yard. When in a few moments he returned, he said:
“I have compared your clock with my sun-dial, and find that it is ten minutes slow. I also see that, like the donkey-clock, its works are not adjusted in such a way as to be unaffected by heat and cold.”
“My—clock—ten—minutes—slow!” exclaimed Arla, with wide-open eyes.
“Yes,” said the superintendent, “that is the case to-day, and on some days it is, probably, a great deal too fast. Such a clock as this—which is a very ingenious and beautiful one—ought frequently to be compared with a sun-dial or other correct time-keeper, and set to the proper hour. I see it requires a peculiar key with which to set it. Have you brought this with you?”
“No, sir,” said Arla; “I did not suppose it would be needed.”
“Well, then,” said the superintendent, “you can set it forward ten minutes when you reach home; and if to-morrow morning you compare the other clocks with it, I think you will find that not all of them are wrong.”
Arla sat quiet for a moment, and then she said: “I think I shall not care any more to compare the clocks of Rondaine with my little rose-clock. If the people are satisfied with their own clocks, whether they are fast or slow, and do not care to know exactly when Christmas Day begins, I can do nobody any good by listening to the different strikings and then looking at my own little clock, with a night-lamp by it.”
“Especially,” said the superintendent, with a smile, “when you are not sure that your rose-clock is right. But if you bring here your little clock and your key on any day when the sun is shining, I will set it to the time shadowed on the sun-dial, or show you how to do it yourself.”
“Thank you very much,” said Arla, and she took her leave.
As she walked home, she lifted the lid of her basket and looked at her little rose-clock. “To think of it!” she said. “That you should be sometimes too fast and sometimes too slow! And, worse than that, to think that some of the other clocks have been right and you have been wrong! But I do not feel like altering you to-day. If you go fast sometimes, and slow sometimes, you must be right sometimes, and one of these days, when I take you to be compared with the sun-dial, perhaps you will not have to be altered so much.”
Arla went to bed that night quite tired with her long walks, and when she awoke it was broad daylight. “I do not know,” she said to herself, “exactly when Christmas began, but I am very sure that the happy day is here.”
“Do you lie awake in the morning as much as you used to?” asked Arla’s mother, a few weeks after the Christmas holidays.
“No, mother dear,” said Arla; “I now sleep with one of my windows shut, and I am no longer awakened by that chilly feeling which used to come to me in the early morning, when I would draw the bed-covers close about me and think how wrong were the clocks of Rondaine.”
And the little rose-clock never went to be compared with the sun-dial. “Perhaps you are right now,” Arla would say to her clock each day when the sun shone, “and I will not take you until some time when I feel very sure that you are wrong.”
Story DNA
Moral
Absolute truth is elusive, and sometimes contentment comes from accepting things as they are, rather than striving for an unattainable perfection.
Plot Summary
In the town of Rondaine, known for its many uniquely striking but inaccurate clocks, a young girl named Arla meticulously compares them to her seemingly perfect rose-clock. Concerned about the town's lack of true time, she attempts to persuade various clock-keepers to correct their devices, only to be met with dismissal or anger, as tradition and contentment outweigh accuracy. Her quest culminates when the museum superintendent reveals that her own cherished rose-clock is also inaccurate. Disillusioned but ultimately accepting, Arla abandons her pursuit of perfect time, finding peace in the present and no longer comparing her clock to others.
Themes
Emotional Arc
curiosity to frustration to disillusionment to acceptance
Writing Style
Narrative Elements
Cultural Context
Reflects a pre-standardized time era where local timekeeping varied, and the concept of 'exact' time was less rigid than after the advent of time zones and precise chronometers.
Plot Beats (13)
- The town of Rondaine is introduced, known for its many diverse and often inaccurate striking clocks, which its contented citizens rely on.
- Arla, a young girl, enjoys listening to the clocks strike in the early morning and uses her special rose-clock, which she believes is perfectly accurate, to know the true time.
- Arla realizes the widespread inaccuracy of Rondaine's clocks and worries about how people know the true time, especially for Christmas.
- She decides to try and correct the clocks, starting with the sacristan of the largest church, who dismisses her concerns.
- Arla then visits a little old lady whose clock strikes last, but the old lady becomes furious at the suggestion of altering her ancestral clock.
- Discouraged, Arla makes a final attempt with the superintendent of the museum, who manages the loud iron donkey clock.
- The superintendent explains that the iron donkey clock is complex and inherently inaccurate due to temperature changes, and the town won't pay for a new one.
- Arla reveals her rose-clock, which she uses to verify the time, to the superintendent.
- The superintendent compares Arla's rose-clock to his sun-dial and informs her that her clock is ten minutes slow and also susceptible to temperature changes.
- Arla is shocked and disillusioned by the revelation that her trusted clock is not perfect.
- She decides to stop comparing the clocks of Rondaine, realizing the futility of her quest for absolute accuracy when others are content.
- Arla stops waking early to listen to the clocks, finding peace in her new perspective.
- Her rose-clock is never taken to be compared with the sun-dial, as Arla now accepts its occasional rightness and her own contentment.
Characters
Arla ★ protagonist
A young woman of average height and slender build, with an earnest and thoughtful expression. Her movements are quick and purposeful when she is determined, but she can also sit quietly in contemplation.
Attire: Simple, practical clothing suitable for a young woman in a small European town centuries ago. This would likely include a long, modest linen or wool dress, perhaps with an apron, and sturdy walking shoes. Colors would be muted, such as earth tones, blues, or greens.
Wants: Initially, her primary motivation is to understand the true time and correct the perceived inaccuracies of Rondaine's clocks. Later, it shifts to finding contentment and peace with the world as it is.
Flaw: Her initial naivety and absolute belief in her own clock's accuracy, leading to a rigid view of 'right' and 'wrong'. She is also easily discouraged when her efforts seem futile.
Arla begins as a seeker of absolute truth regarding time, convinced that all other clocks are wrong and hers is right. She learns humility and the subjective nature of 'truth' when her own clock is proven inaccurate. She ultimately finds peace in accepting the world's imperfections and prioritizing her own well-being over rigid adherence to precision.
Curious, persistent, earnest, observant, somewhat naive. She is driven by a desire for accuracy and truth, but also capable of accepting imperfections.
Image Prompt & Upload
A young European woman standing upright, facing forward, full body visible from head to toe. She has an earnest, thoughtful expression, with wide, curious eyes and a slightly parted mouth as if about to speak. Her hair is a natural brown, pulled back neatly from her face in a simple braid. She wears a modest, long-sleeved cream linen dress with a simple blue apron tied at the waist, and sturdy brown leather shoes. Her posture is attentive and slightly leaning forward. She holds a small, intricately carved rose-themed clock in her hands, looking at it with a mix of wonder and contemplation. Plain white background, full body visible head to toe, single figure, no watermark, no text, no signature.
The Superintendent of the Museum ◆ supporting
A man of likely middle age or older, with an intelligent and patient demeanor. His build is not specified, but he is described as ingenious, learned, and skillful, suggesting a thoughtful rather than physically imposing presence.
Attire: Professional and respectable attire for a museum superintendent in a European town centuries ago. This would likely be a well-maintained, dark-colored wool coat or doublet, a white linen shirt, and breeches, perhaps with spectacles on a chain.
Wants: To maintain the museum's exhibits, including the donkey-clock, and to share his knowledge and understanding with others, particularly those genuinely seeking answers.
Flaw: Limited by the town's budget and the inherent imperfections of mechanical devices, he cannot fix every problem, even with his skill.
He remains consistent throughout the story, serving as a wise mentor figure who provides Arla with crucial information and a new perspective, without undergoing a personal transformation.
Ingenious, learned, skillful, patient, understanding, pragmatic, slightly amused. He is a man of science and reason, but also possesses a gentle humor.
Image Prompt & Upload
A middle-aged European man standing upright, facing forward, full body visible from head to toe. He has a kind, intelligent face with a patient smile and observant eyes. His hair is neatly combed, dark with streaks of grey. He wears a dark, well-tailored wool doublet over a crisp white linen shirt, with dark breeches and polished leather shoes. His posture is calm and authoritative, with his hands clasped gently in front of him. He has a thoughtful, slightly amused expression. Plain white background, full body visible head to toe, single figure, no watermark, no text, no signature.
Arla's Mother ○ minor
A woman of mature age, likely of average build, reflecting the typical appearance of a mother in a small European town. Her appearance would be neat and caring.
Attire: Simple, modest, and practical clothing, such as a long, durable linen or wool dress, possibly with an apron, in muted colors. Her attire would be clean and well-maintained.
Wants: To care for her daughter and ensure her comfort and happiness.
Flaw: Not explicitly shown, but perhaps a lack of understanding of Arla's deeper intellectual pursuits regarding the clocks.
She remains a static, supportive character, serving to highlight Arla's change by noticing her altered sleeping habits.
Caring, observant (of her daughter's habits), loving, practical. She is concerned for Arla's well-being.
Image Prompt & Upload
A middle-aged European woman standing upright, facing forward, full body visible from head to toe. She has a kind, warm face with gentle eyes and a soft smile. Her hair is a practical, neat bun, likely brown or grey. She wears a modest, long-sleeved dark blue linen dress with a simple white apron over it. Her posture is calm and nurturing, with her hands clasped loosely in front of her. She has a caring and slightly curious expression. Plain white background, full body visible head to toe, single figure, no watermark, no text, no signature.
The Iron Donkey Clock ○ minor
A large, intricate clock mechanism featuring an iron donkey figure. The donkey is robustly built, capable of kicking a bell with significant force. It has a head that can turn to look at the bell. Its internal workings are complex, made of many wheels, cogs, springs, and levers.
Attire: N/A (it is a mechanical figure)
Wants: To strike the hours, as designed, though it often fails to do so accurately due to its flawed mechanism.
Flaw: Its internal mechanism is not well-made, causing it to be affected by temperature changes and lose or gain time easily.
Remains a static symbol of mechanical imperfection and the town's acceptance of it.
Stubborn (due to its mechanical imperfections), loud, somewhat unpredictable. It is a character through its actions and the impact it has on the town's perception of time.
Image Prompt & Upload
A large, intricate mechanical clock figure of an iron donkey, standing on a stone pedestal. The donkey is made of dark, aged iron, with a stylized, slightly stubborn expression. Its head is turned to the side, looking at a large, polished brass bell positioned behind its hind leg. The donkey's hind leg is slightly raised, as if about to kick the bell. The mechanism is visible with gears and levers. Plain white background, full body visible head to toe, single figure, no watermark, no text, no signature.
Locations
Arla's Bedroom
A small room at the top of Arla's house, with one window opening to the west and another to the south, allowing sounds from different quarters to enter. It contains Arla's bed and her 'rose-clock'.
Mood: Quiet, contemplative, a private space for listening and reflection, initially filled with a sense of mystery and later, peaceful acceptance.
Arla spends many early mornings here, listening to the various clocks of Rondaine strike and comparing them to her own 'rose-clock', forming her initial belief that all other clocks are wrong. Later, she sleeps more soundly here.
Image Prompt & Upload
A cozy, simple bedroom in a traditional German-style half-timbered house, seen in the soft, pre-dawn light filtering through two open, small-paned windows. A narrow wooden bed with a patchwork quilt is positioned against a plastered wall. On a small bedside table, a unique 'rose-clock' with intricate floral carvings sits next to a dim night-lamp. The room has exposed wooden beams on the ceiling and a worn, braided rug on the floor. no border, no frame, no watermark, no text, no signature, edge-to-edge illustration.
The Great Central Square of Rondaine
A wide open square in the heart of Rondaine, fronted by several very old town buildings, each with a tower containing a clock. A large church also stands on the square with seven bells.
Mood: Bustling during the day, quiet and echoing at night, a central hub of town life and the source of many prominent clock strikes.
The square is the location of many of Rondaine's most important clocks, including the large church bells and the stone man clock. It's a key point of reference for the town's timekeeping.
Image Prompt & Upload
A bustling central square in a medieval German town, paved with uneven cobblestones, under a bright afternoon sky. Dominating one side is a grand, half-timbered town hall with a tall, ornate clock tower featuring a stone man figure poised to strike. Across the square, a large Gothic church with a tall spire and multiple bells rises, its stone facade weathered with age. Small market stalls with canvas awnings are scattered, and townsfolk in period attire move about. no border, no frame, no watermark, no text, no signature, edge-to-edge illustration.
Town-Building Museum and Courtyard
An old town building, serving as a museum, with a tower housing the complex 'iron donkey' clock. It has a courtyard where a sun-dial is located.
Mood: Intellectual, mechanical, a place of intricate workings and precise measurement, yet also a place of human fallibility and acceptance.
Arla visits the superintendent here to discuss the accuracy of the iron donkey clock, leading to the revelation about her own 'rose-clock' being inaccurate. The sun-dial here serves as the ultimate arbiter of time.
Image Prompt & Upload
A sun-drenched, enclosed courtyard of an ancient German town-building, constructed from rough-hewn stone and dark timber. In the center, a weathered stone sun-dial stands on a pedestal, casting a sharp shadow. Tall, narrow arched windows with leaded glass look into the museum interior, which hints at curious artifacts within. Overhead, a glimpse of a clock tower with intricate mechanical workings, possibly showing the 'iron donkey' mechanism, is visible against a clear blue sky. no border, no frame, no watermark, no text, no signature, edge-to-edge illustration.