Sredni Vashtar by H H Munro (Saki)

Table of Contents

Learning Goals

About the Story

The Author

The Story

Characters

The Setting

The Plot

Genre, Themes, and Symbols

Activities

Credits

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Learning Goals

Identify and enjoy features of classic literature.

Analyze interactions among discourse elements that constitute a genre.

Acquire vocabulary and grammar structures in context.

Develop higher order thinking skills to spot clues, make inferences, think critically and draw conclusions to pose arguments in answer to writing and speaking prompts.

Engage in individual and collaborative group work in integrated language skills.

About the story

The 1911 short story ‘Sredni Vashtar’ contains many of the ingredients we find in Saki’s best fiction: it challenges the idea that children are innocent and free from designs or cunning (or, indeed, evil), it pricks the pomposity of adults and their conservative treatment of children, and it suggests a kinship between children and animals. But ‘Sredni Vashtar’ might also be considered a darker version of the familiar trope found in children’s fiction: the idea of the child having a wish granted. It might also be viewed as a satirical take on religious practice and observance. The story is shot through with Saki’s celebrated wit, and deserves closer analysis.
Sredni Vashtar was published in Saki's book, Chronicles of Clovis in 1911. It is featured in our collection of Halloween Stories.
Sredni Vashtar was featured as The Short Story of the Day on Wed, Oct 14, 2020

Source

The Author

Hector Hugh Munro (Dec 18, 1870 - Nov 14, 1916) was a witty British author who published under the pen name SAKI or H.H. Munro. The inspiration for the pen name "Saki" is unknown, it may be based upon a character in a poem or on a South American monkey. Given Munro's intellect, wit, and mischevious nature it's possible it was based on both simultaneously. As a writer, Munro (Saki) was a master of the short story form and is often compared to O. Henry and Dorothy Parker. E.F. Benson shares his sardonic style.

Munro was born in Akyab, Burma (now known as Myanmar) in 1870. In 1872 while she was on a trip to England, his mother Mary was charged by a cow. She suffered a miscarriage, never recovered, and died in 1872 when Munro was only two years old. After her death, the Munro children were sent from Burma back to England where they lived with their grandmother and aunts in a strict puritanical household. In his early career, Munro became a police officer in India and was posted to Burma where he contracted malaria before returning to England in 1895.

Saki (H. H. Munro's fiction succeeds because of his inimitable blend of satire, irony, startling endings, clever dialogue, sparkling wit, psychological insight, unconventional settings, mystery, and sometimes even horror.

The Story

Conradin was ten years old, and the doctor had pronounced his professional opinion that the boy would not live another five years. The doctor was silky and effete, and counted for little, but his opinion was endorsed by Mrs. De Ropp, who counted for nearly everything. Mrs. De Ropp was Conradin's cousin and guardian, and in his eyes she represented those three-fifths of the world that are necessary and disagreeable and real; the other two-fifths, in perpetual antagonism to the foregoing, were summed up in himself and his imagination. One of these days Conradin supposed he would succumb to the mastering pressure of wearisome necessary things---such as illnesses and coddling restrictions and drawn-out dullness. Without his imagination, which was rampant under the spur of loneliness, he would have succumbed long ago.
Mrs. De Ropp would never, in her honestest moments, have confessed to herself that she disliked Conradin, though she might have been dimly aware that thwarting him "for his good" was a duty which she did not find particularly irksome. Conradin hated her with a desperate sincerity which he was perfectly able to mask. Such few pleasures as he could contrive for himself gained an added relish from the likelihood that they would be displeasing to his guardian, and from the realm of his imagination she was locked out---an unclean thing, which should find no entrance.
In the dull, cheerless garden, overlooked by so many windows that were ready to open with a message not to do this or that, or a reminder that medicines were due, he found little attraction.

The few fruit-trees that it contained were set jealously apart from his plucking, as though they were rare specimens of their kind blooming in an arid waste; it would probably have been difficult to find a market-gardener who would have offered ten shillings for their entire yearly produce. In a forgotten corner, however, almost hidden behind a dismal shrubbery, was a disused tool-shed of respectable proportions, and within its walls Conradin found a haven, something that took on the varying aspects of a playroom and a cathedral. He had peopled it with a legion of familiar phantoms, evoked partly from fragments of history and partly from his own brain, but it also boasted two inmates of flesh and blood. In one corner lived a ragged-plumaged Houdan hen, on which the boy lavished an affection that had scarcely another outlet. Further back in the gloom stood a large hutch, divided into two compartments, one of which was fronted with close iron bars. This was the abode of a large polecat-ferret, which a friendly butcher-boy had once smuggled, cage and all, into its present quarters, in exchange for a long-secreted hoard of small silver. Conradin was dreadfully afraid of the lithe, sharp-fanged beast, but it was his most treasured possession. Its very presence in the tool-shed was a secret and fearful joy, to be kept scrupulously from the knowledge of the Woman, as he privately dubbed his cousin. And one day, out of Heaven knows what material, he spun the beast a wonderful name, and from that moment it grew into a god and a religion.
The Woman indulged in religion once a week at a church near by, and took Conradin with her, but to him the church service was an alien rite in the House of Rimmon.

Every Thursday, in the dim and musty silence of the tool-shed, he worshipped with mystic and elaborate ceremonial before the wooden hutch where dwelt Sredni Vashtar, the great ferret. Red flowers in their season and scarlet berries in the winter-time were offered at his shrine, for he was a god who laid some special stress on the fierce impatient side of things, as opposed to the Woman's religion, which, as far as Conradin could observe, went to great lengths in the contrary direction. And on great festivals powdered nutmeg was strewn in front of his hutch, an important feature of the offering being that the nutmeg had to be stolen. These festivals were of irregular occurrence, and were chiefly appointed to celebrate some passing event. On one occasion, when Mrs. De Ropp suffered from acute toothache for three days, Conradin kept up the festival during the entire three days, and almost succeeded in persuading himself that Sredni Vashtar was personally responsible for the toothache. If the malady had lasted for another day the supply of nutmeg would have given out. The Houdan hen was never drawn into the cult of Sredni Vashtar. Conradin had long ago settled that she was an Anabaptist. He did not pretend to have the remotest knowledge as to what an Anabaptist was, but he privately hoped that it was dashing and not very respectable. Mrs. De Ropp was the ground plan on which he based and detested all respectability.
After a while Conradin's absorption in the tool-shed began to attract the notice of his guardian. "It is not good for him to be pottering down there in all weathers," she promptly decided, and at breakfast one morning she announced that the Houdan hen had been sold and taken away overnight.