The New-Year's Bargain — Background and Themes
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It is a cold, wintry day. The Old Year is going to die to-night. All the winds have come to his funeral, and, while waiting, are sky-larking about the country. It is a very improper thing for mourners to do. Here they are in the Black Forest, going on like a parcel of school-boys, waltzing with leaves, singing in tree-tops, whooping, whistling, making all sorts of odd noises. If the Old Year hears them, he must think he has a very queer sort of “procession.”
Max and Thekla are used to the winds, and not afraid of them. They are not afraid of the Forest either, though the country people avoid it, and tell wonderful stories about things seen and heard there. The hut in which they and their Grandfather live is in the heart of the wood. No other house stands within miles of them. In summer-time the wild lilies grow close to the door-step, and the fawns creep shyly out to drink at the spring near by; and sometimes, when the wind blows hard on winter nights, strange barkings can be heard in the distance, and they know that the wolves are out. They do not tremble, though they are but children. Max is eleven, very stout and strong for his age, and able to chop and mark the wood for Grandfather, who for many years has been Woodman. Thekla, who is nine, keeps the house in order, cooks, mends clothes, and knits stockings like a little house-fairy. All their lives they have lived here, and the lonely place is dear to them. The squirrels in the wood are not more free and fearless than these children, and they are so busy and healthy that the days fly fast.
This afternoon, in spite of the cold, they are out gathering wood, of which the Ranger allows them all they need to use. There is a pile at home already, almost as high as the cottage roof: but Thekla is resolved that her fire shall always be bright when Max and the Grandfather come in from out-doors, blue and cold; and she isn’t satisfied yet. For hours they have been at work, and have tied ever so many fagots. The merry winds have been helping in the task, tearing boughs and twigs off overhead, and throwing them down upon the path, so that the bundles have collected rapidly, and wise little Thekla says, “This has been a good day.”
“I’m getting tired, though,” she goes on. “Let’s rest awhile, and take a walk. We never came so far as this before, did we? I want to go up that pretty path, and see where it comes out. Don’t you think we have got wood enough, Max?”
Yes, Max thought they had. So hand in hand the children went along the path. Every thing was new and strange. Into this part of the forest they had never wandered before. The trees were thick. Bushes grew below. Only the little foot-track broke the way. Thekla crept closer to her brother as the walk grew wilder. A great forest is an awful sort of place; most of all in winter, when the birds and squirrels are hushed and the trees can be heard talking to one another. Sweet, curious smells come from you know not where. The wind roars, and the boughs creak back sharply as if the giants and dwarfs were quarreling. All is strange and wonderful.
And now the bushes grow thinner. They were coming upon a little open space fringed about with trees, and suddenly Thekla exclaimed, in an astonished voice,--
“Why, Max! Look! There are people in there. I can see them through the bushes!”
“People?” cried Max. “Stealing wood, no doubt. Quiet, Thekla! don’t make any noise: we’ll creep up, and catch them at it. They shall see what the Ranger says to such doings.”
So, like mice, they crept forward, and peeped through the screen of boughs. But there was no sound of chopping, and nobody was meddling with the wood. In fact, there was only one body visible,--an old, old man with snow-white hair. But there was a long row of clay figures in front of him, men and women as large as life; and they looked so natural, it was no wonder Thekla had made the mistake. Some were half-finished; some but just begun: one only seemed perfect,--the figure of a beautiful youth, with a crescent moon on his cap; and, even as they looked, the old man took a pinch of something, molded it with his hand, and stuck it on the side of the head, from which it hung like a graceful plume. Then he seemed satisfied, and began to work on one of the others.
“How lovely! but did you ever see any thing so queer?” whispered Thekla. “If we only dared go nearer!”
“Dared!” cried Max: “this is _our_ wood, and we have a right to go where we like in it. Come on!” and he took Thekla’s hand, and drew her boldly forward.
There were two great jars standing there, which seemed to hold the stuff out of which the figures were made. The children peeped in. One was full of a marvelous kind of water, sparkling and golden and bubbling like wine. The other held sand, or what seemed like sand,--fine, glittering particles,--most beautiful to see. It was wonderful to watch the old man work. His lean fingers would twist and mold the sand and water for a second, and there would be a lovely head, an arm, or a garland of flowers. The forms grew like magic; and the children were so charmed with watching, that they forgot either to speak or to go away.
At last, the old man turned, and saw them. He didn’t smile, nor did he seem angry. He only stood, and fixed his eyes upon them in silence. Thekla began to tremble, but Max bravely addressed him:--
“What curious work this is you are doing!” he said. “Is it very hard?”
“I’m used to it,” was the brief reply.
“You have been doing it a long time perhaps,” said Thekla, shyly.
“Seven thousand years or so,” answered the old man.
“Why, what a story!” cried Max. “That’s impossible, you know: the world wasn’t made as long ago as that.”
“Oh, yes! it was. You were not there at the time, and I was. I got there about as soon as _it_ did, or a little before.”
“He’s certainly crazy,” whispered Thekla; “let’s run away.”
“Run away,” replied her brother, “from that old fellow? Why, he’s ten times as old as Grandfather, and I’ll bet he’s not one quarter so strong. There’s something very queer about it all, though, and I’m bound to find it out. Would you dislike to tell us your name, sir?” he asked politely.
“Oh, no!” answered the old man: “I haven’t the least objection. Most people, however, don’t remember to inquire till they’re about seeing the last of me. They mistake me for my brother, Eternity, I suppose. My name is Old Time. That’s my scythe hanging on the tree. Don’t you see it?”
There it was sure enough, only they had not noticed it before. “And what are these beautiful figures?” asked little Thekla.
“Those are the Months,” replied Time. “I come here every year to renew them. They get quite worn out, and need building up. It’s a nice dry place, and they can stand till they are wanted. This one is January. He’s finished; but I’m a little behind hand with the others.” As he spoke, he turned again to his task.
“And what is this stuff you are making them of?” inquired Max, dipping his finger in the sparkling liquid.
The old man fixed upon him a fiery eye. “Don’t meddle with that, boy!” said he, in a severe tone: “nobody can touch those drops safely but myself. That is water from the stream of Time.”
“And these?” asked Thekla, pointing to the second jar.
“Those are what you know as ‘moments,’” was the reply. “They are really the dust of dead years, though somebody or other has given them the name of ‘sands of Time.’ Pretty things they are, but they won’t keep. Everybody in the world can have one at a time, but nobody can lay up a stock for next day. I’m the only person to whom that is allowed.”
Just then a naughty idea entered into Max’s head. “We’ll see whether that is true,” he muttered; and, watching till the old man’s back was turned, he plunged his fingers into the jar, stole a double handful of the sand, and hid it in the tin can which was slung to his side, and in which his dinner and Thekla’s had been. Old Time was too busy to heed him. Pretty soon after, Max took Thekla’s hand, and, without saying “Good-by,” dragged her away down the narrow path towards home. It was almost nightfall when at last they got there.
It was not till after supper when Grandfather had gone to bed that Max confessed what he had done. Thekla felt dreadfully about it; but he wouldn’t say he was sorry, and was sitting by the fire letting the shining particles drift through his fingers, when suddenly voices were heard out of doors as if a large company was approaching. He had just time to hurry the can into a safe hiding-place when the latch rattled, the door flew open, and in long procession streamed in the very figures they had seen that afternoon in the wood.
No longer lifeless however, but angry, noisy, reproachful. “Ah, little thief!” cried January. “Where are the stolen moments?”
“Yes,” shouted March, a blustering fellow with wild hair and eyes. “Where’s the third finger of my left hand? Where are my Brother February’s thumb-nail and right ear-tip?”
“And my roses,” wept June, a fair young woman. “See, I ought to have a whole lap full, and there are only five. Oh, naughty, naughty boy!”
“And my holly sprig?” vociferated December. “Who’s to know which I am without it? Not a child in the world will hang up his stocking at the right time.”
“Didn’t you know,” sobbed April, “that the jar only held just enough to make us complete, and no more? And here all of us but January are ugly, maimed creatures, and the New Year will be so disgusted with us.”
It was too true. Every one lacked something. September had no wheat-ears. May mourned over her want of violets. November raged up and down, declaring that he _must_ have a turkey. “And what do you think,” grumbled March, “the world is going to say, when we all come in docked after this ridiculous fashion? The tides will be wrong and the almanac-makers will tear their hair. The moon will go wandering about like a lunatic. And all because a little boy in the Black Forest couldn’t keep his hands out of what didn’t belong to him. Oh, fie! fie! wait till my turn comes! won’t I blow you about!”
And the Months clustered about poor Max, scolding, threatening, crying, till he didn’t know which way to look. He began to feel dreadfully ashamed of himself, especially as Thekla was sobbing as loudly as April, and imploring him to make amends. But he kept up a bold front.
“Ladies and gentlemen,” he said, “I think you’re very unreasonable. Time belongs to us all. I never had so much to myself before, and I mean to keep it unless you make it worth my while to give it up.”
“What shall we do?” cried July. “Shall we all make you a present? or tell you a story?” said November.
“Or sing you a song?” chanted May.
“No music, thank you,” answered Max. “Little Thekla here sings to me, and that is sweet enough. But if you each will make us a gift, and each tell us a story, I will restore the sand you are making such a fuss about. What do you say? Is it a bargain?”
“I won’t,” said January. “I’ll have nothing to do with it: I am finished, and have no favors to ask of anybody.”
The others, however, all cried, “Yes!” And so the bargain was struck. Each Month was to come in turn on the last night of the month before, tell a story, bring a present, and get his missing moments. With this agreement, they said good-by. April gave Thekla a kiss, and they went away. For a time their voices could be heard growing more and more distant in the forest, then all was silent again.
“Isn’t that splendid?” cried Max, exultingly.
“It’s very nice about the presents and stories,” answered Thekla; “but I can’t help wishing you hadn’t taken the moments, Max. It’s dreadful to think of your stealing any thing.”
“Pooh!” said Max: “it isn’t stealing to take _time_. Everybody does that.”
It seemed a long month to Max and Thekla, but at last it was over. The 31st of January came. Grandfather was tucked up early in bed, the fire was poked, the tin can brought out, and all made ready. The children sat in expectation. At last there came a rap at the door.
“Walk in,” cried Max; and February entered. He was a short, thick-set fellow, with red eyes, a red nose, and a gruff, surly voice. Very unhappy he looked just now; and when Max pulled up a chair for him, he sat down on the edge, and began,--
“Unaccustomed as I am to public speaking,”--
“Hallo!” cried Max, interrupting him. “That’ll never do in the world. That’s a horrid beginning: you must try again.”
“Oh, must I?” said February, much relieved. “I thought I had to take pains with my language. People who ‘address the young’ usually do. Well, if I may go ahead in my own way it’s all right: you’ve taken a weight off my mind.”
“I’m glad to hear it,” said Max; “but before you begin, where’s the gift?”
“Here,” said February; and he pulled from his pocket something that looked like a big icicle. It _was_ an icicle, only it didn’t melt in your fingers or feel cold; and it had a delicious taste, like buckwheat cakes, maple molasses, sausages, baked apples, turkey, cranberry sauce, and nuts and raisins, all at once. Max broke it in two, and while Thekla sucked one half and he the other, February began:--
“It’s only about the bears in the North-West Hollow.”
“Bears!” cried Max: “what bears?”
“A real nice family of bears who live up there. Last year when I saw them, they were little fellows about the size of kittens; but they are quite big now, and have got grown-up growls. I thought perhaps you’d like to hear about ’em.”
Oh, wouldn’t they? Both children crept close to him, and drank in every word with red cheeks and round eyes.
“Bears!” cried Max, quite stuttering with excitement. “I didn’t know there were any in the Forest. Oh, do go on!”
“They used to lie all curled up in a heap,” continued February, “at the bottom of a nest in the rocks, which their mother had lined with leaves and moss to keep them warm. They looked just like funny bundles of brown hair. There were four of them,--Snap, Snooze, Roll-about, and Greedy. Roll-about was the fattest and the best-natured, but they were all nice. They lay tangled together, and couldn’t help pulling each other’s fur a good deal; but they quarrelled much less than most brothers and sisters who live in such close quarters.
“I went away before they were old enough to go out, so I couldn’t tell you much about them if it were not for April. April and I,” said February, with a sentimental air, “were always great friends. She used to see the Mamma Bear and her little ones go walking together. One day when they were in the wood a barking of dogs and blowing of horns was heard.
“‘Run! run!’ cried Mamma; and off they went,--all but Greedy who had straggled away in pursuit of a honey-tree. He was too young to know how to take care of himself, and getting confused ran into the very track of the hunters. They would have killed him, but one shouted, ‘Take him alive! take him alive! I want him;’ so instead they put him into a sack and carried him away.
“Nothing more was heard of him for a long time. The others were sorry, but they went prowling about all summer stuffing themselves with good things, and did very well without him. By October they were as fat as pigs. And all of a sudden one day, as they were lunching on ground-nuts in a lonely place among the hills, as happy and friendly as could be, they heard a scratching of claws, and smelt a fur which seemed uncommonly familiar; and lo and behold! it was Greedy, back again, as big as any of them, but not nearly so fat.
“Of course they growled with astonishment, and flew to meet him. He was glad too, but his manner seemed a little cold. Where had he been? Oh! he had been in a town of Germany getting his education. And where had he been living? Oh! in the family of his tutor of course. Slept in the same room with the children, and treated like a child. None of them knew what a tutor might be; and Roll-about asked innocently if it was something good to eat, but Greedy shook his head. The town was a college town, he said. All persons of refinement were sent there to study.
“‘Are you a person of refinement, Greedy?’ asked little Snooze.
“Greedy froze him with a look. He didn’t answer, but went on with his tale. He had learned to dance. He could pick out the Ace of Hearts, and A, B, and Z from the alphabet. He could jump over a stick. This last he did on the spot, to show them how it went; and, in the middle of the jump, Snap noticed something which made him cry out, ‘O Greedy! your poor paws! What is the matter with them? They’re all brown, and dried up?’
“Greedy looked foolish. ‘Oh!’ he replied, ‘that’s nothing: they--they--got a little burnt one day,--that’s all,--on some hot iron. Stoves are very hot in Germany.’
“Mamma looked queer when she heard this, and relieved her feelings by a low growl. The little ones could not tell what to make of it.
“When asked how he managed to get back, Greedy explained it in this way: ‘He was travelling,’ he said, ‘with some friends. They were in a cage together, which was the fashionable way of going about just now. By an accident, the cage upset and some of the bars broke; and, as it was so near home, Greedy thought he might as well run over, and make them a visit.’ All this he said with a lofty air, and the brothers and sister believed every word of it; but Mamma put her tongue in her cheek, and gently pointed over her left shoulder with her paw.
The New-Year's Bargain opens with a striking personification: the Old Year is dying, and the winds, acting as improper mourners, are “sky-larking about the country” in the Black Forest. This playful, almost irreverent tone sets the stage for a frame narrative in which two children, Max and Thekla, make a bargain with the Months. Each month visits and tells a story, creating a structure that shifts between the children's domestic life and the embedded tales.
The excerpts reveal a narrator who moves easily from cozy, intimate scenes—a child demanding “Tell it again!”—to moments of high tension, as in August's tale of a forest fire. The voice is conversational yet precise, with a fondness for sensory detail: the “guggle, guggle, spit, spit” of rain versus fire, or the “spizz-z-z-z” of mosquitoes. This editorial note examines how language, narrative voice, and changes in pace shape the reading experience.
The Frame's Conversational Voice
The narrative voice in the frame is intimate and slightly arch, addressing the reader directly at times. The opening description of the winds as “improper” mourners sets a tone of gentle mockery. The children, Max and Thekla, are drawn with affectionate detail: Thekla's tears during August's story, Max's “flushed cheek” cooled by a palm-leaf fan. The narrator uses colloquial interjections like “You see” to explain that mosquitoes are unknown in the Black Forest, creating a confiding tone. This voice contrasts with the more formal or dramatic styles of the embedded tales, but it remains consistent in its warmth and its habit of stepping back to comment on the action.
Pace Shifts: From Domestic Calm to Peril
The pace varies sharply between the frame and the stories. The frame moves at a leisurely, descriptive pace, with time for the children's reactions and the narrator's asides. In contrast, August's tale of the forest fire accelerates into breathless action: “Hours and hours did the rain continue. It fought the fire as mortal foes fight, it wrestled and beat it down.” The prose becomes staccato, with short clauses and personified conflict. Similarly, the mosquito episode in Chapter IX shifts from weary, slow description of sleepless nights to frantic slapping and hunting. These changes in pace mirror the emotional arc of each month's visit, from anticipation to relief or dread.
Recurring Sensory Details and Their Effect
Recurring sensory details anchor the narrative and signal shifts in mood. The “guggle, guggle, spit, spit” of rain versus fire in August's story is a vivid onomatopoeic contrast. The “spizz-z-z-z” of mosquitoes becomes a tormenting refrain in the August chapter, emphasizing the children's exhaustion. The “golden head” and “gentianella blue” eyes of the child in the prefatory poem establish a tender, domestic register that returns in the frame's quiet moments. These details are not merely decorative; they create a tactile, auditory world that makes the fantastical bargain feel immediate and grounded.
Readers attentive to shifts in tone will notice how Coolidge uses the frame's steady, affectionate voice as a counterweight to the more volatile embedded tales. The children's reactions—tears, laughter, slapping at mosquitoes—anchor the fantastic elements in recognizable emotion. Pay particular attention to the way each month's story changes the atmosphere of the frame: after August's tale, the children “quite hated him,” a rare moment of unambiguous feeling. This interplay between the teller and the tale is the book's quiet engine.
The fire in August’s tale made me recall evenings at my grandmother’s, listening to logs crack while she knitted. Reading The New-Year’s Bargain felt like that—each month holding its own weather. I once had that same quiet anticipation with Campfire Girls' Lake Camp; or, Searching for New Adventures — Edition Insights, where every chapter smelled like pine and lake water, promising something just around the bend.
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