Edith and Her Ayah, and Other Stories — A Closer Reading

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A. L. O. E., 1821-1893 Project Gutenberg 2019
Christian life -- Juvenile fiction; Conduct of life -- Juvenile fiction; Children's stories; Children -- Conduct of life -- Juvenile fiction; Sunday school literature Readers of public-domain and historical texts
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Words: 21,261
Reading time: 93 min
Text sections: 3
A collection of fifteen moral tales for children, set in India and England, using vivid imagery and allegorical structures to teach Christian virtues. The stories move between domestic scenes and symbolic landscapes, with recurring motifs of light, shadow, and physical objects that embody spiritual lessons.
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again she spoke to Motee of the Christian’s faith and the Christian’s God. It saddened the heart of the lady to feel that to seek to teach Motee religion was like trying to write upon water. The ayah joined her dark hands together, listened, or seemed to listen, said, “Very good, very good,” to everything that the beebee (lady) told her, but always returned to her idol, a hideous little wooden image, and performed her poojah (worship) to Vishnu, as if she had never heard of a purer religion. Mrs. Tuller grew quite disheartened about her. Sometimes the lady blamed her own imperfect knowledge of the language, and sometimes she felt almost angry with the ayah for her blindness and hardness of heart.

Poor Motee had been brought up from infancy amongst idolaters; she had never been taught truth when a child, and now error bound her like a chain. Motee had actually been led to think it honourable to her family that, many years before, there had been a suttee in it; that is to say, a poor young widow had burnt herself with the dead body of her husband. Happily, our Government has forbidden suttees—no widow can thus be burnt now; but still the cruel heathen religion hurts the bodies as well as the souls of the Queen’s dark subjects in India. Motee’s own father had died on a pilgrimage to what he believed to be a holy shrine. Travelling on foot for hundreds of miles under a burning sun, the poor idolater’s strength had given way, and he had laid himself down by the roadside, sick, faint, and alone, to die far away from his home. Poor Motee had never reflected that the religion which had thus cost the lives of two of her family could not be a religion of heavenly love. She worshipped Vishnu, for she knew no better; and when her lady spoke to her of the Lord, the ayah only said to herself, that the God of the English was not the God of the Hindu, and that she herself must do what all her fathers had done.

Mrs. Tuller’s _words_ had little power, but her _example_ and that of her husband were not without some effect upon the ignorant ayah. Motee knew that the sahib (master) who prayed with his family, never used bad words, nor was unkind to his wife, nor beat his servants, nor took bribes. Motee knew that the beebee who read her Bible was gentle, generous, and kind. The ayah could not but respect the religion whose fruits she saw in the lives of her master and mistress.

But it was not only the lady’s words and the lady’s example that were used as means to draw the poor Hindu to God. Little Edith had never heard the beautiful saying, that “the nearest road to any heart is through heaven,” and she would not have known its meaning if she had heard it, but the English child had been taught that the Saviour listens to prayer. Every night and morning Edith, at her mother’s knee, repeated the few simple words, “Lord Jesus, teach me to love thee!” and now, of her own accord, she added another short prayer. Mrs. Tuller caught the soft whispered words from the lips of her darling, “Lord Jesus, teach poor Motee Ayah to love thee!” The mother took no outward notice, but from her heart she added “Amen” to the prayer of her child.

The hot season passed away; the time had come when Mr. Tuller and his family could enjoy what is called “camp life,” and move from place to place, living not in a house but a tent. The change was pleasant to the party, most of all to little Edith. She delighted in running about and playing with the goats, pulling the ropes, watching the black servants taking down the tents, or in riding on her little white pony. Edith’s cheeks, which during the hot weather had grown quite thin and pale, became plump and rosy once more; and merry was the sound of her childish voice as she gambolled in and out of the tent.

One day, as Edith was playing outside, near the edge of a jungle or thicket, her attention was attracted by a beautiful little fawn, that seemed almost too young to run about, and which stood timidly gazing at the child with its soft dark eyes.

“Pretty creature, come here,” cried Edith, beckoning with her small white hand; “have you lost your mother, little fawn? Come and share my milk and bread,—come, and I will make you my pet, and love you so much, pretty fawn!”

As all her coaxing could not lure the timid creature to her side, Edith advanced towards it. The fawn started back with a frightened look, and fled into the jungle as fast as its weak, slender limbs could bear it.

The merry child gave chase, following the fawn, and calling to it as she ran, pushing her way as well as she could between the tall reeds and grass, which were higher than her own curly head.

Motee soon missed her charge, and quickly hurried after Edith. So eager, however, was the child in pursuit of the fawn, that she was some distance from the tents before the ayah overtook her.

“O Missee Baba,” cried the panting nurse, “why you run away from your Motee?”

“I want to catch the pretty fawn; I want to take it to mamma; it is too little to be by itself,—I’m afraid the jackals will get it!”

“I am afraid that the jackals will get Missee Baba,” cried the ayah, catching the little girl up in her arms. “Missee must come back to the beebee directly.”

Edith was a good little child, and made no resistance, though she looked wistfully into the bushes after the fawn, and called out to it again and again in hopes of luring it back. Motee attempted to return to the tents, but did not feel sure of the way,—the vegetation around grew so high that she could scarcely see two yards before her. She walked some steps with Edith in her arms, then stopped and looked round with a frightened air.

“Motee, why don’t you go on?” asked Edith.

“O Missee Baba, we’re lost!” cried the poor Hindu; “lost here in the dreadful jungle, full of wild beasts and snakes!”

Edith stared at her ayah in alarm, yet at that moment the little child remembered her mother’s lessons. “Don’t be so frightened, Motee,” said the fair-haired English girl; “the Lord Jesus can save us, and show us the way to mamma.”

There was comfort in that thought, which the poor heathen could not have drawn from calling on Vishnu and the thousand false gods which the ignorant Hindus adore. The little child could feel, as the woman could not, that even in that lonely jungle a great and a loving Friend was beside her!

Again Motee tried to find her way, again she paused in alarm. What was that dreadful sound, like a growl, that startled the ayah, and made her sink on her knees in terror, clasping all the closer the little girl in her arms! Motee and Edith both turned to gaze in the direction from which that dreadful sound had proceeded. What was their horror on beholding the striped head of a Bengal tiger above the waving grass! Motee uttered a terrified scream,—Edith a cry to the Lord to save her. It seemed like the instant answer to that cry when the sharp report of a rifle rang through the thicket, quickly succeeded by a second; and the wild beast, mortally wounded, lay rolling and struggling on the earth! Edith saw nothing of what followed; the shock had been too great for the child; senseless with terror she lay in the arms of her trembling ayah!

Edith’s father, for it was he whom Providence had sent to the rescue, bore his little darling back to the tent, leaving his servants, who had followed his steps, to bring in the spoils of the tiger. It was some time before Edith recovered her senses, and then an attack of fever ensued. Mrs. Tuller nursed her daughter with fondest care, and with scarcely less tenderness and love the faithful Motee tended the child. The poor ayah would have given her life to save that of her little charge.

On the third night after that terrible adventure in the woods came the crisis of the fever. Mrs. Tuller, worn out by two sleepless nights, had been persuaded to go to rest, and let Motee take her turn of watching beside the child. The tent was nearly dark,—but one light burned within it,—Edith lay in shadow,—the ayah could not see her face,—a terror came over the Hindu,—all was so still, she could not hear any breathing,—could Missee Baba be dead! Motee during two anxious days had prayed to all the false gods that she could think of to make Missee Edith well; but the fever had not decreased. Now, in the silence of the night, poor Motee Ayah bethought her of the English girl’s words in the jungle. Little Edith had said that the Lord could save them,—and had he not saved from the jaws of the savage tiger? Could he not help them now? The Hindu knelt beside the charpoy (pallet) on which lay the fair-haired child, put her brown palms together, bowed her head, and for the first time in her life breathed a prayer to the Christian’s God: “Lord Jesus, save Missee Baba!”

“O Motee! Motee!” cried little Edith, starting up from the pillow with a cry of delight, and flinging her white arms round the neck of the astonished Hindu, “the Lord has made you love him,—I knew he would,—for I prayed so hard. And oh, how I love you, Motee—more than ever I did before!” The curly head nestled on the bosom of the ayah, and her dark skin was wet with the little child’s tears of joy.

Edith, a few minutes before, had awoke refreshed from a long sleep, during which her fever had passed away. And from that hour her recovery was speedy; before many days were over the child was again sporting about in innocent glee. And from that night the ayah never prayed to an idol again. Willing she now was to listen to all that the beebee could tell of a great and merciful Lord. Of the skin of the tiger that the sahib had slain a rug was made, which Edith called her praying-carpet. Upon this, morning and night, the white English girl and her ayah knelt side by side, and offered up simple prayers to Him who had saved them from death. Mrs. Tuller’s words had done less than her example in drawing a poor wandering soul to God; but the prayer lisped by her little lamb had had greater effect than either.

Oh, if, in our dear land, all the little ones who have no money to give to the missionary cause, who have never even seen an idolater, would lift up their hands and hearts to the Lord, saying, “Teach the poor heathen to love thee!” how rich a harvest of blessings would be drawn down by such a prayer on those who know not the truth, and still sit in darkness and the shadow of death!

A party of boys had been playing in the fields on a sunny afternoon in the bright month of June. They had been chasing a gay butterfly, which, in its uncertain flight, had led them over hedge and ditch, till at last the beautiful prize was won, and the brilliant insect remained a helpless prisoner in the hands of its pursuers. Alas, for the butterfly! A few moments before so gay and so free, sometimes resting on a blossom, then fluttering up towards the sky, its lovely wings were rudely torn away, and it lay quivering in the agonies of death. At this moment Ella Claremont, a young lady of the village, approached the party; she had seen the chase and its close, and looked with regret on the poor mangled butterfly. “Why did you not let it live?” said she; “it had never harmed you, and it was so happy. You easily took away its little life,” she added; “but could any of you, could any power on earth, give that life back again?”

The boys looked one upon another, and were silent, till the eldest of them, Giles, replied, “I am sorry that I killed it, but I did not know that there was any harm.”

“Surely,” said Ella, in a very gentle voice, “in a world where there is so much pain, one would be sorry to add, even in the least degree, to the amount of it. There is another feeling,” continued she, “that should make us merciful to every creature; we should look upon it as one of the wonderful works of God.”

“Why,” said Anthony, “a butterfly is only a caterpillar after it has wings.”

“True; but what human skill could form a caterpillar! It has been calculated that in a single caterpillar there are _sixty thousand muscles_!”

An exclamation of astonishment burst from the boys.

“They must be finer than spiders’ threads,” cried Giles.

“I daresay,” replied the lady, “that you are not aware that each separate spider’s thread is said to be formed of about _three thousand_ joined together.”

“The world seems full of wonders,” exclaimed little Robert.

“It is indeed; the more we search into God’s works, the more wisdom and skill do we behold.”

“I’ll not kill a butterfly again,” said Giles.

“I never see one fluttering in the sun,” continued Ella, “without thinking of those lines:—

‘Thou hast burst from thy prison, Bright child of the air! Like a spirit just risen From its mansion of care!’”

“That sounds very pretty,” said Giles; “but I don’t understand it.”

“It is not very difficult to explain,” replied Ella. “The butterfly teaches us a joyful lesson; it is what is called a _type_ of immortality! You see the lowly caterpillar crawling over a leaf,—it cannot raise itself towards the sky,—it cannot leave the earth; in this it is like what _we are now_. Then, as you know, it seems to die; it is wrapped up in its little covering, and there it lies without motion or feeling—that is like what _we must be_.”

“Ah! I see; when we are in our coffins, dead and buried,” cried Robert. “But the bright butterfly soon bursts from the dark case, and we do not rise from our graves.”

“_We shall_,” replied Ella earnestly; “_we all shall rise again_. No longer prisoners bound to earth, no longer creeping on amidst trials and sorrows, but free, happy, glorious, shining in the beams of the Sun of Righteousness. ‘For the trumpet shall sound, and the dead shall be raised’ (1 Cor. xv. 52). Why should we fear death—why should we dread being laid in the cold tomb? When we think of the hope set before us, well may we cry, ‘O death, where is thy sting? O grave, where is thy victory?’” (1 Cor. xv. 55).

There was a deep silence for a few moments; nothing was heard but the song of a lark high overhead, as it soared towards the sky.

Then Giles spoke in a tone of awe, “Will _all_ rise again?”

“Will all rise to be free, and happy, and glorious?”

“Alas, no!” replied Ella.

“How can we tell,” continued the boy, after a little hesitation, “whether _we_ shall be among the happy ones?”

“There will be but two classes then,” said Ella, “as there are but two classes amongst those called Christians now. We may divide all who have heard of a Saviour into _those who love God, and those who love sin_. Those who love sin will awake to misery; those who love God will awake to glory.”

“But,” said the boy anxiously, “there may be some who love God and really try to obey him, and yet sin sometimes.”

“_All_ sin sometimes,” replied Ella. “There is not one human being free from sin.”

“Then,” said Giles, “I should be afraid that, when the trumpet sounded, my sins would be like chains, and keep me down, so that I could not rise.”

Every eye was turned towards Ella; every ear anxiously listened for her reply; for every young heart was conscious of some sin, and felt the difficulty which Giles had started.

“It would have been so,” replied Ella, “had not the Saviour died for sinners like us. His blood washes us _quite clean_ from all guilt—that is, if we really believe on him and love him. Let us look upon our sins as chains _now_, and struggle hard to burst them, and pray for grace to help us: then, if we are Christ’s people, we shall rise joyfully in that great day when ‘the Lord himself shall descend from heaven with a shout, with the voice of the archangel, and with the trump of God’” (1 Thess. iv. 16).

“I think,” said Giles, after a pause, “that sins are like chains, and very hard to break too. There is temper, now! I know that I’ve a bad temper; I determine over and over again that I will get rid of it; but the harder I struggle, the tighter the chain seems to grow.”

“And mother is trying to cure me of saying bad words,” cried little Robert; “but it’s no use—they will come; I say them when I’m not thinking about it.”

“Have you tried prayer?” inquired Ella. “Do you not know the precious promises, ‘If any of you lack wisdom, let him ask of God, that giveth to all men liberally, and upbraideth not; and it shall be given him’ (James i. 5). ‘Ask, and it shall be given you; seek, and ye shall find; knock, and it shall be opened unto you’ (Luke xi. 9). These words have often been such a comfort to me, when I felt how heavy my chain was, and how weak my efforts to get rid of it. And now, my young friends, I must leave you; will you think over what I have said?”

“Yes, miss, and thank you for it,” said Giles, touching his cap.

Ella paused as she was turning to depart, and gazed upon the sky, all bright with the evening sun, setting amidst clouds of crimson and gold.

“How glorious!” she cried, “how beautiful that work of God! He, too, speaks of the resurrection; he sinks to rise again!

‘Just so is the Christian; his course he begins, Like the sun in a mist, when he mourns for his sins, Then all in a moment he breaks out and shines, And travels his heavenly way.

‘And when he comes nearer to finish his race, Like a fine setting sun, he grows richer in grace, And gives a sure hope, at the end of his days, Of rising in brighter array!’

“Farewell, my children. Whether we shall see each other again on this earth, who shall dare to say? But we shall meet again when the last trumpet sounds, and the dead hear the Saviour’s voice, and the saints awake in his likeness. Let us live now as those who are waiting for the Lord, and who long for the hour of his appearing.”

“Oh! when through earth, and sea, and skies, Th’ archangel’s final summons flies, May we, through Christ, immortal rise Towards a heavenly home!

“They who together life have trod, May they together burst the sod, And glorious rise to meet their God! Come, Jesus, Saviour, come!”

“What is the matter with you, Charley?” said George Mayne, as he returned home from the factory, and found his little brother crying violently on the door-step. “What has vexed you, Charley, my boy?”

“Oh, my father will never forgive me,” sobbed the child.

“I cannot think that, he is so good and so kind. Come, dry up your tears, and tell me what has happened; perhaps I may be able to help you out of your trouble.”

It was some time before, soothed by the kindness of his brother, the boy became calm enough to explain the cause of his grief. With a voice half choked with tears he began: “Father had sent me to pay the baker—he had given me a half-crown to do it—he had _trusted me_; and now it is all—all gone! Oh, father will never forgive me!” and he burst into a fresh agony of sorrow.

The collection opens with a scene of domestic stillness: a hot Indian day, the light softened by green blinds, a punkah moving gently overhead. Little Edith asks her mother why Motee Ayah does not attend prayers, and the question sets in motion a quiet drama of religious instruction. The ayah listens politely, says “Very good,” but returns to her wooden idol. This contrast between outward compliance and inward resistance recurs throughout the fifteen stories, which shift between Anglo-Indian households and English village settings, between realistic conversation and dreamlike allegory.

The author, A. L. O. E. (a pen name for Charlotte Maria Tucker), builds each tale around a concrete object—a butterfly, a vase, a jewel, a white robe—that carries a transparent moral weight. The structure is cumulative: a child’s question, a mother’s or teacher’s explanation, often followed by a parable or vision that literalizes the lesson. The excerpts show a preference for symmetrical contrasts: light and dark, obedience and disobedience, the Sabbath tree’s fruit and the stolen branch.

Framing Devices and Shifting Perspectives

The stories employ a layered narrative structure. In “Edith and Her Ayah,” the frame is a mother-daughter conversation that leads to an attempted conversion. In “The Sabbath-Tree,” the frame is a teacher’s dream-vision recounted to his scholars. The shift from domestic realism to allegorical dream is abrupt: Thorn the teacher “beheld in my dream” a tree whose fruit represents Sabbath observance, and whose branches, when broken off, bring immediate punishment. The dream logic allows for literal consequences—a wheel comes off a car, a spade snaps, a serpent named Remorse strikes a sweetmeat seller. The boys listening interrupt with objections (“Many a fellow goes larking on Sunday, and the wheel of his car never comes off!”), and the teacher must reassert the dream’s spiritual meaning. This back-and-forth between concrete disbelief and allegorical explanation is a recurring structural pattern.

Recurring Images: Light, Shadow, and the Physical Object

The opening story establishes a visual vocabulary of light and darkness. The bungalow room is dark despite the blazing sun, the light “softened by green blinds and half-closed shutters.” The ayah’s idol is “hideous” and wooden; the Christian faith is associated with writing, with words that fail to make an impression (“like trying to write upon water”). In “The Sabbath-Tree,” the tree itself is a central image—its fruit is “ripe, precious,” but the stolen branches turn to dust or cause injury. Objects carry moral weight: the sweetmeat seller’s fagot hides a serpent; the boy Bat Nayland empties his pockets and gives his purchases to a lame beggar. The physical world is never neutral; every object is either a sign of grace or a trap for sin. The stories move between these poles with little ambiguity, but the imagery is precise and consistent.

Movement Between Scenes: From India to England, from Conversation to Vision

The table of contents lists fifteen stories, and the excerpts show two distinct settings. “Edith and Her Ayah” is set in India, with specific details: the bungalow, the punkah, the ayah’s poojah to Vishnu. “The Sabbath-Tree” appears to be set in England, with references to cricket, a public-house, and a ragged old beggar. The movement between these settings is abrupt; there is no transitional narrative. Within individual stories, the movement is from everyday conversation to visionary or didactic set-piece. In “Edith and Her Ayah,” the mother’s promise to teach the ayah is followed by a summary of failed attempts. In “The Sabbath-Tree,” Thorn’s dream is interrupted by the boys’ reactions, then the dream resumes. The structure prioritizes the lesson over continuous plot; scenes are arranged to illustrate a moral point rather than to develop character or suspense.

The Role of the Listener: Interruption and Application

The excerpts reveal that the stories are designed for an audience that talks back. In “The Sabbath-Tree,” a boy interrupts the dream-narrative to object that real life does not match the allegory: “Many a fellow goes larking on Sunday, and the wheel of his car never comes off!” The teacher, Willy (or Thorn), responds by shifting the ground from literal to spiritual consequence: disobedience brings punishment “in another world, and very frequently also in this.” Later, another boy, Bat Nayland, acts out the moral by emptying his pockets and giving his sweets to a beggar. The narrative includes this response as part of the story. The reader is positioned as a listener who must apply the lesson, and the text models that application. This interactive structure—question, story, objection, explanation, action—is a deliberate pedagogical method, turning each tale into a miniature Sunday school lesson.

Readers approaching this collection should attend to the way each story builds its argument through a central object or image, and to the interruptions and objections that are built into the narrative. The stories are not meant to be absorbed passively; they anticipate doubt and provide answers. The movement between realistic and allegorical modes, and between Indian and English settings, reflects a didactic purpose that transcends location. The moral architecture is consistent: every choice has a visible consequence, and every object carries a spiritual charge.

Reading Edith and Her Ayah, I remembered sitting with my grandmother while she turned the pages of a worn storybook, how the light caught her hands. The quiet way objects held meaning there—a lamp, a shawl—felt like the shadowed paths in Our trip to Blunderland — Story, Setting & Ideas, which once made me pause, not for the adventure, but for the hush it left behind.

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