The Peace Egg and Other tales — A Closer Reading
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"There you go, crying!" said Robin, impatiently. "Look here: I won't take it till you get the new one on your birthday. You can't be so mean as not to let me have it then!"
But Dora's tears still fell. "I love this one so much," she sobbed. "I love her better than the new one."
"You want both; that's it," said Robin, angrily. "Dora, you're the meanest girl I ever knew!"
At which unjust and painful accusation Dora threw herself and the doll upon their faces, and wept bitterly. The eyes of the soft-hearted Nicholas began to fill with tears, and he squatted down before her, looking most dismal. He had a fellow-feeling for her attachment to an old toy, and yet Robin's will was law to him.
"Couldn't we make a coffin, and pretend the body was inside?" he suggested.
"No, we couldn't," said Robin. "I wouldn't play the Dead March after an empty candle-box. It's a great shame--and I promised she should be chaplain in one of my night-gowns, too."
"Perhaps you'll get just as fond of the new one," said Nicholas, turning to Dora.
But Dora only cried, "No, no! He shall have the new one to bury, and I'll keep my poor, dear, darling Betsy." And she clasped Betsy tighter than before.
"That's the meanest thing you've said yet," retorted Robin; "for you know Mamma wouldn't let me bury the new one." And, with an air of great disgust, he quitted the nursery.
"A MUMMING WE WILL GO."
Nicholas had sore work to console his little sister, and Betsy's prospects were in a very unfavourable state, when a diversion was caused in her favour by a new whim which put the military funeral out of Robin's head.
After he left the nursery he strolled out of doors, and, peeping through the gate at the end of the drive, he saw a party of boys going through what looked like a military exercise with sticks and a good deal of stamping; but, instead of mere words of command, they all spoke by turns, as in a play. In spite of their strong Yorkshire accent, Robin overheard a good deal, and it sounded very fine. Not being at all shy, he joined them, and asked so many questions that he soon got to know all about it. They were practising a Christmas mumming-play, called "The Peace Egg." Why it was called thus they could not tell, as there was nothing whatever about eggs in it, and so far from being a play of peace, it was made up of a series of battles between certain valiant knights and princes, of whom St. George of England was the chief and conqueror. The rehearsal being over, Robin went with the boys to the sexton's house (he was father to the "King of Egypt"), where they showed him the dresses they were to wear. These were made of gay-coloured materials, and covered with ribbons, except that of the "Black Prince of Paradine," which was black, as became his title. The boys also showed him the book from which they learned their parts, and which was to be bought for one penny at the post-office shop.
"Then are you the mummers who come round at Christmas, and act in people's kitchens, and people give them money, that Mamma used to tell us about?" said Robin.
St. George of England looked at his companions as if for counsel as to how far they might commit themselves, and then replied, with Yorkshire caution, "Well, I suppose we are."
"And do you go out in the snow from one house to another at night? and oh, don't you enjoy it?" cried Robin.
"We like it well enough," St. George admitted.
Robin bought a copy of "The Peace Egg." He was resolved to have a nursery performance, and to act the part of St. George himself. The others were willing for what he wished, but there were difficulties. In the first place, there are eight characters in the play, and there were only five children. They decided among themselves to leave out the "Fool," and Mamma said that another character was not to be acted by any of them, or indeed mentioned; "the little one who comes in at the end," Robin explained. Mamma had her reasons, and these were always good. She had not been altogether pleased that Robin had bought the play. It was a very old thing, she said, and very queer; not adapted for a child's play. If Mamma thought the parts not quite fit for the children to learn, they found them much too long; so in the end she picked out some bits for each, which they learned easily, and which, with a good deal of fighting, made quite as good a story of it as if they had done the whole. What may have been wanting otherwise was made up for by the dresses, which were charming.
Robin was St. George, Nicholas the Valiant Slasher, Dora the Doctor, and the other two Hector and the King of Egypt. "And now we've no Black Prince!" cried Robin in dismay.
"Let Darkie be the Black Prince," said Nicholas. "When you wave your stick he'll jump for it, and then you can pretend to fight with him."
"It's not a stick, it's a sword," said Robin. "However, Darkie may be the Black Prince."
"And what's Pax to be?" asked Dora; "for you know he will come if Darkie does, and he'll run in before everybody else too."
"Then he must be the Fool," said Robin, "and it will do very well, for the Fool comes in before the rest, and Pax can have his red coat on, and the collar with the little bells."
Robin thought that Christmas would never come. To the Captain and his wife it seemed to come too fast. They had hoped it might bring reconciliation with the old man, but it seemed they had hoped in vain.
There were times now when the Captain almost regretted the old bachelor's bequest. The familiar scenes of her old home sharpened his wife's grief. To see her father every Sunday in church, with marks of age and infirmity upon him, but with not a look of tenderness for his only child, this tried her sorely.
"She felt it less abroad," thought the Captain. "An English home in which she frets herself to death is, after all, no great boon."
"I'm sure it's quite Christmas enough now," said Robin. "We'll have 'The Peace Egg' to-night."
So as the Captain and his wife sat sadly over their fire, the door opened, and Pax ran in shaking his bells, and followed by the nursery mummers. The performance was most successful. It was by no means pathetic, and yet, as has been said, the Captain's wife shed tears.
"What is the matter, Mamma?" said St. George, abruptly dropping his sword and running up to her.
"Don't tease Mamma with questions," said the Captain; "she is not very well, and rather sad. We must all be very kind and good to poor dear Mamma;" and the Captain raised his wife's hand to his lips as he spoke. Robin seized the other hand and kissed it tenderly. He was very fond of his mother. At this moment Pax took a little run, and jumped on to Mamma's lap, where, sitting facing the company, he opened his black mouth and yawned, with a ludicrous inappropriateness worthy of any clown. It made everybody laugh.
"And now we'll go and act in the kitchen," said Nicholas.
"Supper at nine o'clock, remember," shouted the Captain. "And we are going to have real frumenty and Yule cakes, such as Mamma used to tell us of when we were abroad."
"Hurray!" shouted the mummers, and they ran off, Pax leaping from his seat just in time to hustle the Black Prince in the doorway. When the dining-room door was shut, St. George raised his hand, and said "Hush!"
The mummers pricked their ears, but there was only a distant harsh and scraping sound, as of stones rubbed together.
"They're cleaning the passages," St. George went on, "and Sarah told me they meant to finish the mistletoe, and have everything cleaned up by supper-time. They don't want us, I know. Look here, we'll go _real mumming_ instead. That _will_ be fun!"
The Valiant Slasher grinned with delight.
"But will mamma let us?" he inquired.
"Oh, it will be all right if we're back by supper-time," said St. George, hastily. "Only of course we must take care not to catch cold. Come and help me to get some wraps."
The old oak chest in which spare shawls, rugs, and coats were kept was soon ransacked, and the mummers' gay dresses hidden by motley wrappers. But no sooner did Darkie and Pax behold the coats, &c., than they at once began to leap and bark, as it was their custom to do when they saw any one dressing to go out. Robin was sorely afraid that this would betray them; but though the Captain and his wife heard the barking they did not guess the cause.
So the front door being very gently opened and closed, the nursery mummers stole away.
THE NURSERY MUMMERS AND THE OLD MAN.
It was a very fine night. The snow was well trodden on the drive, so that it did not wet their feet, but on the trees and shrubs it hung soft and white.
"It's much jollier being out at night than in the daytime," said Robin.
"Much," responded Nicholas, with intense feeling.
"We'll go a wassailing next week," said Robin. "I know all about it, and perhaps we shall get a good lot of money, and then we'll buy tin swords with scabbards for next year. I don't like these sticks. Oh, dear, I wish it wasn't so long between one Christmas and another."
"Where shall we go first?" asked Nicholas, as they turned into the high-road. But before Robin could reply, Dora clung to Nicholas, crying, "Oh, look at those men!"
The boys looked up the road, down which three men were coming in a very unsteady fashion, and shouting as they rolled from side to side.
"They're drunk," said Nicholas; "and they're shouting at us."
"Oh, run, run!" cried Dora; and down the road they ran, the men shouting and following them. They had not run far, when Hector caught his foot in the Captain's great-coat, which he was wearing, and came down headlong in the road. They were close by a gate, and when Nicholas had set Hector upon his legs, St. George hastily opened it.
"This is the first house," he said. "We'll act here;" and all, even the Valiant Slasher, pressed in as quickly as possible. Once safe within the grounds, they shouldered their sticks, and resumed their composure.
"You're going to the front door," said Nicholas, "Mummers ought to go to the back."
"We don't know where it is," said Robin, and he rang the front-door bell. There was a pause. Then lights shone, steps were heard, and at last a sound of much unbarring, unbolting, and unlocking. It might have been a prison. Then the door was opened by an elderly, timid-looking woman, who held a tallow candle above her head.
"Who's there," she said, "at this time of night?"
"We're Christmas mummers," said Robin, stoutly; "we don't know the way to the back door, but--"
"And don't you know better than to come here?" said the woman. "Be off with you, as fast as you can."
"You're only the servant," said Robin. "Go and ask your master and mistress if they wouldn't like to see us act. We do it very well."
"You impudent boy, be off with you!" repeated the woman. "Master'd no more let you nor any other such rubbish set foot in this house--"
"Woman!" shouted a voice close behind her, which made her start as if she had been shot, "who authorizes you to say what your master will or will not do, before you've asked him? The boy is right. You _are_ the servant, and it is not your business to choose for me whom I shall or shall not see."
"I meant no harm, sir, I'm sure," said the housekeeper; "but I thought you'd never--"
"My good woman," said her master, "if I had wanted somebody to think for me, you're the last person I should have employed. I hire you to obey orders, not to think."
"I'm sure, sir," said the housekeeper, whose only form of argument was reiteration, "I never thought you would have seen them--"
"Then you were wrong," shouted her master. "I will see them. Bring them in."
He was a tall, gaunt old man, and Robin stared at him for some minutes, wondering where he could have seen somebody very like him. At last he remembered. It was the old gentleman of the blue cloak.
The children threw off their wraps, the housekeeper helping them, and chattering ceaselessly, from sheer nervousness.
"Well, to be sure," said she, "their dresses are pretty too. And they seem quite a better sort of children, they talk quite genteel. I might ha' knowed they weren't like common mummers, but I was so flusterated hearing the bell go so late, and--"
"Are they ready?" said the old man, who had stood like a ghost in the dim light of the flaring tallow candle, grimly watching the proceedings.
"Yes, sir. Shall I take them to the kitchen, sir?"
"--for you and the other idle hussies to gape and grin at? No. Bring them to the library," he snapped, and then stalked off, leading the way.
The housekeeper accordingly led them to the library, and then withdrew, nearly falling on her face as she left the room by stumbling over Darkie, who slipped in last like a black shadow.
The old man was seated in a carved oak chair by the fire.
"I never said the dogs were to come in," he said.
"But we can't do without them, please," said Robin, boldly. "You see there are eight people in 'The Peace Egg,' and there are only five of us; and so Darkie has to be the Black Prince, and Pax has to be the Fool, and so we have to have them."
"Five and two make seven," said the old man, with a grim smile; "what do you do for the eighth?"
"Oh, that's the little one at the end," said Robin, confidentially. "Mamma said we weren't to mention him, but I think that's because we're children.--You're grown up, you know, so I'll show you the book, and you can see for yourself," he went on, drawing "The Peace Egg" from his pocket: "there, that's the picture of him, on the last page; black, with horns and a tail."
The old man's stern face relaxed into a broad smile as he examined the grotesque woodcut; but when he turned to the first page the smile vanished in a deep frown, and his eyes shone like hot coals with anger. He had seen Robin's name.
"Who sent you here?" he asked, in a hoarse voice. "Speak, and speak the truth! Did your mother send you here?"
Robin thought the old man was angry with them for playing truant. He said, slowly, "N--no. She didn't exactly send us; but I don't think she'll mind our having come if we get back in time for supper. Mamma never _forbid_ our going mumming, you know."
"I don't suppose she ever thought of it," Nicholas said, candidly, wagging his curly head from side to side.
"She knows we're mummers," said Robin, "for she helped us. When we were abroad, you know, she used to tell us about the mummers acting at Christmas, when she was a little girl; and so we thought we'd be mummers, and so we acted to Papa and Mamma, and so we thought we'd act to the maids, but they were cleaning the passages, and so we thought we'd really go mumming; and we've got several other houses to go to before supper-time; we'd better begin, I think," said Robin; and without more ado he began to march round and round, raising his sword and shouting--
"I am St. George, who from Old England sprung, My famous name throughout the world hath rung."
And the performance went off quite as creditably as before.
As the children acted the old man's anger wore off. He watched them with an interest he could not repress. When Nicholas took some hard thwacks from St. George without flinching, the old man clapped his hands; and, after the encounter between St. George and the Black Prince, he said he would not have had the dogs excluded on any consideration. It was just at the end, when they were all marching round and round, holding on by each other's swords "over the shoulder," and singing "A mumming we will go," &c., that Nicholas suddenly brought the circle to a standstill by stopping dead short, and staring up at the wall before him.
"What _are_ you stopping for?" said St. George, turning indignantly round.
"Look there!" cried Nicholas, pointing to a little painting which hung above the old man's head.
Robin looked, and said, abruptly, "It's Dora."
"Which is Dora?" asked the old man, in a strange, sharp tone.
"Here she is," said Robin and Nicholas in one breath, as they dragged her forward.
"She's the Doctor," said Robin; "and you can't see her face for her things. Dor, take off your cap and pull back that hood. There! Oh, it _is_ like her!"
It was a portrait of her mother as a child; but of this the nursery mummers knew nothing. The old man looked as the peaked cap and hood fell away from Dora's face and fair curls, and then he uttered a sharp cry, and buried his head upon his hands. The boys stood stupefied, but Dora ran up to him, and putting her little hands on his arms, said, in childish pitying tones, "Oh, I am so sorry! Have you got a headache? May Robin put the shovel in the fire for you? Mamma has hot shovels for her headaches." And, though the old man did not speak or move, she went on coaxing him, and stroking his head, on which the hair was white. At this moment Pax took one of his unexpected runs, and jumped on to the old man's knee, in his own particular fashion, and then yawned at the company. The old man was startled, and lifted his face suddenly. It was wet with tears.
"Why, you're crying!" exclaimed the children, with one breath.
"It's very odd," said Robin, fretfully. "I can't think what's the matter to-night. Mamma was crying too when we were acting, and Papa said we weren't to tease her with questions, and he kissed her hand, and I kissed her hand too. And Papa said we must all be very good and kind to poor dear Mamma, and so I mean to be, she's so good. And I think we'd better go home, or perhaps she'll be frightened," Robin added.
"She's so good, is she?" asked the old man. He had put Pax off his knee, and taken Dora on to it.
"Oh, isn't she!" said Nicholas, swaying his curly head from side to side as usual.
"She's always good," said Robin, emphatically; "and so's Papa. But I'm always doing something I oughtn't to," he added, slowly. "But then, you know, I don't pretend to obey Sarah. I don't care a fig for Sarah; and I won't obey any woman but Mamma."
"Who's Sarah?" asked the grandfather.
"She's our nurse," said Robin, "and she tells--I mustn't say what she tells--but it's not the truth. She told one about _you_ the other day," he added.
"About me?" said the old man.
"She said you were our grandpapa. So then I knew she was telling _you know what_."
"How did you know it wasn't true?" the old man asked.
"Why, of course," said Robin, "if you were our Mamma's father, you'd know her, and be very fond of her, and come and see her. And then you'd be our grandfather, too, and you'd have us to see you, and perhaps give us Christmas-boxes. I wish you were," Robin added with a sigh. "It would be very nice."
"Would _you_ like it?" asked the old man of Dora.
And Dora, who was half asleep and very comfortable, put her little arms about his neck as she was wont to put them round the Captain's, and said, "Very much."
He put her down at last, very tenderly, almost unwillingly, and left the children alone. By and by he returned, dressed in the blue cloak, and took Dora up again.
"I will see you home," he said.
The volume opens with a Christmas tale in which a Captain and his wife, despite good health, comfortable means, and loving children, are sad on Christmas Eve. The cause is a long-standing family rift: the wife married against her father's will and was disinherited. The story intertwines this domestic sorrow with the performance of a traditional mumming play, The Peace Egg, staged by the children. The narrative moves between the adult grief and the children's energetic, imperfect acting—St. George marches with a soldierly air, the Valiant Slasher falls without crying, and the mother drops tears as well as pennies into the collecting cap.
A Tale Framed by a Play
The title story uses the mumming play as both a plot device and a structural frame. The children's performance of The Peace Egg is described in detail: the wooden swords, the ribbons, the abbreviated dialogue due to young actors. Yet the parents' attention drifts to their own history. The mother recalls her own childhood happiness watching the same play, before her marriage caused her father's rejection. The play thus becomes a mirror for generational conflict and reconciliation. The narrative shifts between the present-time performance and flashbacks to the mother's past, creating a layered chronology. The play's traditional characters—St. George, the Valiant Slasher, the Doctor, the King of Egypt—appear both as costumed children and as echoes of the adults' memories.
Practical Stagecraft in the Hints
The three Hints for Private Theatricals letters offer detailed, hands-on advice for amateur productions. They cover lighting: footlights with reflectors, sidelights to prevent shadows, colored glass for moonlight or sunset. Sound effects: a thin iron sheet for thunder, parched peas in a box for rain. Special effects: powdered resin for lightning (with a caution about naked flames). Scene construction: folding screens covered with wallpaper, painted with Japanese designs or brickwork. The tone is direct and instructional, written as letters to a correspondent named Rouge Pot. The author emphasizes broad visual effects and the importance of stepping back to judge the stage picture. These sections read like a manual from an experienced practitioner, not a theoretical essay.
Recurring Images of Light and Darkness
Across the tales and the theatrical hints, light and darkness recur as both practical and symbolic elements. In the Christmas story, the mother's sadness is contrasted with the festive candles and the bright costumes of the children. The hints repeatedly address lighting: the need for reflectors, the use of colored glass, the danger of open flames. The phrase 'brighten up matters' appears in the context of stage design. Even the description of a wood scene notes that distance appears 'blue and grey' while foreground trees are 'warm browns and dull olive.' This attention to light and shadow ties the domestic tale to the theatrical instructions, suggesting that both are concerned with how illumination shapes mood and meaning.
Movement Between Indoor and Outdoor Spaces
The excerpts show a constant shift between interior and exterior settings. The Christmas story begins in the nursery, moves to the mother's memory of her childhood home, and returns to the present performance. The theatrical hints discuss drawing-room backgrounds, cottage exteriors with practicable doors, and woodland scenes. One hint describes painting a screen with a 'wood' on one side and a 'Japanesque' drawing-room on the other. This duality reflects the collection's own structure: a domestic tale of family conflict alongside practical guides for creating fictional worlds. The movement between spaces is not just physical but emotional—the mother's inner landscape of regret and the bright, artificial landscape of the stage coexist within the same volume.
Readers approaching this collection should note that the theatrical hints are not appendices but integral to the volume's purpose. The Christmas story gains depth when read alongside the practical advice, as both explore how performance—whether of a mumming play or of social roles—can reveal or conceal emotion. The detailed stagecraft sections reward careful reading for their period flavor and concrete techniques.
Reading about the careful staging of those mumming plays, the attention to costume and lantern-light, I found myself thinking of a different sort of magic. There is a similar reverence for old stories in Stories from the Faerie Queen, Told to the Children — Edition Insights, as if both books believed that how we tell a tale matters just as much as the tale itself.
David Adams
2 weeks agoHarper Ramirez
3 weeks agoSophia Gonzalez
3 weeks agoLeo Ramirez
4 weeks ago-
Lindsey Beck - 4 weeks ago
The Peace Egg and Other Tales feels extremely dated, with heavy-handed moralizing that overshadows any storytelling. The characters are one-dimensional, and the plots are predictable. While it aims to teach ethics, it lacks the subtlety and charm that would make it enjoyable for modern children. It might appeal to adults nostalgic for Victorian-era children's books, but it's not a must-read for today's youth. -
Richard Jose Adams - 3 weeks ago
This book is a pleasant trip down memory lane, with quaint stories that carry gentle morals. The writing is fluid, and the tales are easy to follow. However, some stories feel repetitive and the lessons are quite overt. It's a nice addition to a classic library, but younger readers today might find it less engaging compared to more dynamic books. Overall, it's a good, wholesome read. -
Kimberly Jones - 2 weeks ago
A charming collection of moral tales and fables that reflect a bygone era. The stories are simple yet profound, teaching valuable lessons about honesty, kindness, and perseverance. The prose is eloquent and the messages are timeless, making it a great read-aloud for parents and children. Though old-fashioned, it offers a refreshing break from modern, high-paced entertainment. Highly recommended for those who appreciate classic literature.
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Scarlett Lopez
2 weeks ago