Sarah Orne Jewett Short Fiction Analysis

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When a young reader wrote to Sarah Orne Jewett in 1899 to express admiration of her stories for girls, Jewett encouraged her to continue reading:You will always have the happiness of finding friendships in books, and it grows pleasanter and pleasanter as one grows older. And then the people in books are apt to make us understand ‘real’ people better, and to know why they do things, and so we learn sympathy and patience and enthusiasm for those we live with, and can try to help them in what they are doing, instead of being half suspicious and finding fault.

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Here Jewett states one of the central aims of her fiction, to help people learn the arts of friendship. Chief among these arts is tact, which Jewett defines in The Country of the Pointed Firs as a perfect self-forgetfulness that allows one to enter reverently and sympathetically the sacred realms of the inner lives of others. In her stories, learning tact is often a major element, and those who are successful are often rewarded with epiphanies—moments of visionary union with individuals or with nature—or with communion—the feeling of oneness with another person that for Jewett is the ultimate joy of friendship.

“A White Heron”

“A White Heron,” which first appeared in A White Heron, is often considered Jewett’s best story, perhaps because it goes so well with such American classics as Nathaniel Hawthorne’s The Scarlet Letter (1850), Herman Melville’s Moby Dick (1851), and William Faulkner’s “The Bear” (1942). With these works, the story shares a central, complex symbol in the white heron and the major American theme of a character’s complex relationship with the landscape and society. As a story about a young person choosing between society and nature as the proper spiritual guide for a particular time in her life, however, “A White Heron” is atypical for Jewett. One main feature that marks the story as Jewett’s, however, is that the main character, Sylvia, learns a kind of tact during her adventure in the woods, a tact that grows out of an epiphany and that leads to the promise of continuing communion with nature that the story implies will help this somewhat weak and solitary child grow into a strong adult.

Sylvia, a young girl rescued by her grandmother, Mrs. Tilley, from the overstimulation and overcrowding of her city family meets a young ornithologist, who fascinates her and promises her ten dollars if she will tell him where he can find the white heron he has long sought for his collection. Childishly tempted by this magnificent sum and her desire to please the hunter, who knows so much of nature yet kills the birds, she determines to climb at dawn a landmark pine from which she might see the heron leave its nest. She succeeds in this quest, but finds she cannot tell her secret to the hunter. The story ends with the assertion that she could have loved the hunter as “a dog loves” and with a prayer to the woodlands and summer to compensate her loss with “gifts and graces.”

Interesting problems in technique and tone occur when Sylvia climbs the pine. The narrative tone shifts in highly noticeable ways. As she begins her walk to the tree before dawn, the narrator expresses personal anxiety that “the great wave of human interest which flooded for the first time this dull little life should sweep away the satisfactions of an existence heart to heart with nature and the dumb life of the forest.” This statement seems to accentuate an intimacy between reader and narrator; it states the position the narrative rhetoric has implied from the beginning and, in effect, asks if the reader shares this anxiety. From this point until Sylvia reaches the top of the tree, the narrator gradually merges with Sylvia’s internal consciousness. During the climb, Jewett builds on this intimacy with Sylvia. Both narrator and reader...

(The entire section contains 2478 words.)

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