Volume 13 Number 3 Article 6

4-15-1987

", Please, Should Not 'Sputter'"

Paul Nolan Hyde

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Recommended Citation Hyde, Paul Nolan (1987) ""Gandalf, Please, Should Not 'Sputter'"," : A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature: Vol. 13 : No. 3 , Article 6. Available at: https://dc.swosu.edu/mythlore/vol13/iss3/6

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Abstract Asks “to what degree does Tolkien consistently use introductory verbs and modifiers ot develop his characters?” Discovered Tolkien was quite consistent in use of both semantically significant (“marked”) and “unmarked” verbs and modifiers ot delineate character.

Additional Keywords Tolkien, J.R.R.—Characterization though language; Tolkien, J.R.R.—Use of language; Tolkien, J.R.R.—Use of language—Computer analysis; Tolkien, J.R.R.—Use of language—Modifiers; olkien,T J.R.R.—Use of language—Verbs

This article is available in Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature: https://dc.swosu.edu/mythlore/vol13/iss3/6 P a g e 2 0 MYTHLORE 49: Spring 1987 "Gandalf, Please Should Not 'Sputter'" Paul Nolan Hyde

Early in the spring of 1958, J.R.R. Tolkien's The Gollum. The following four quotes illustrate was being adapted for an animated te c h n iq u e . film to be produced by an American film company. The producers submitted for Tolkien's commentary a film T r o l l s "story line" w ritten by Morton Grady Zimmerman. On the 8th of April, Tolkien wrote his publisher, Rayner Three very large persons were sitting around U nw in: a very large fire of beech-logs. They were toasting mutton on long spits of wood, and I am entirely ignorant of the process of licking the gravey off their fingers. There producing an 'animated picture' from a book was a fine toothsome smell. Also there was a and of the jargon connected with it. Could barrel of good drink at hand, and they were you let me know exactly what is a drinking out of jugs. But they were trolls. 'story-line', and its function in the Even Bilbo, in spite of his sheltered life, p r o c e s s ? could see that: from the great heavy faces It is not neccessary (or advisable) for of them, and their size, and the shape of me to waste time on mere expressions if their legs, not to mention their language, these are simply directions to picture which was not drawing-room fashion at all, producers. But this document as it stands, a t a l l . is sufficient to give me grave anxiety about "Mutton yesterday, mutton today, and the actual dialog that (I suppose) will be blimey, if it don't look like mutton again used. I should say Zimmerman, the tomorrer," said one of the trolls. constructor of this s-1, is quite incapable "Never a blinking bit of manflesh have of excerpting or adapting the 'spoken words' we had for long enough," said a second. of the book. He is hasty, insensitive, and "What the 'ell William was a-thinkin' of to impertinent. [Letters, p. 266] bring us into these parts at all, beats me — and the drink runnin' short, what's In June of that same year, Tolkien submitted a more," he said jogging the elbow of William, critique of Zimmerman's story-line to Forrest J. who was taking a pull at his jug. Ackerman, one of the film 's promoters. Among other William choked. "Shut yer mouth!" he criticism , Tolkien notes the following regarding the said as soon as he could. "Yer can't expect speech patterns of the characters: folk to stop here forever just to be et by you and Bert. You've et a village and a half The Black riders do not scream, but keep a between yer, since we come down from the more terrifying silence... [Ibid., p. 273] m o u n ta in s . How much m ore d ' y e r w an t? And tim e's been up our way, when yer'd have said The never speaks or makes any 'thank yer Bill' for a nice piece o' fat vocal sound at all. Above all he does not valley mutton like what this is." He took a laugh or sneer... [Ibid., p. 274] big bite off a sheep's leg he was roasting, and wiped his lips on his sleeve. [H, Gandalf, please should not 'sputter'. p p .4 3 -4 4 ] Though he may seem testy at times, has a sense of humor, and adapts a somewhat S p id e r s avuncular attitude to , he is a person of high and noble authority, and "It was a sharp struggle, but worth great dignity... [Ibid., p. 271] it," said one. "What nasty thick skins they have to be sure, but I'll wager there is I do earnestly hope that in the good juice inside." assignment of actual speeches to the "Aye, they'll make fine eating, when characters they will be represented as I they've hung a bit," said another. have presented them: in style and sentiment. "Don't hang 'em too long," said a I should resent perversion of the characters third. "They're not as fat as they might be. (and do resent it, so far as it appears in Been feeding none too well of late, I should this sketch) even more than the spoiling of g u e s s . " the plot and the scenery. [Ibid., p. 275] "Kill 'em, I say" hissed a fourth; "kill 'em now and hang 'em dead for a w h i l e . " Of all the criticism s which Tolkien levels at Zimmerman's sketch, the ones that move him the most "They're dead now I'll warrant," said are those directed at the liberties taken with the one f i r s t . character's dialog. Could not this grave concern be "That they are not. I saw one attributable to the fact that Tolkien is writing in a-struggling just now. Just coming around the Fairy Tale mode and that external expression is again, I should say, after a bee-autiful absolutely vital (given Tolkien's capacity for sleep. I'll show you." [Ibid., p. 168] linguistics) to the portrayal and development of the individual characters? Readers of The are well Smaug aware of this technique, particulary with regard to the Trolls, the Spiders, the dragon, and, of course, "Well, thief! I smell you and I fell M YTHLORE 49: Spring 1987 P a g e 21

your air. I hear your breath. Come along! was disappointed. "No thank you, 0 Smaug the Help yourself again, there is plenty and to Tremendous!" he replied. "I did not come s p a r e ! " for presents. I only wished to have a look But Bilbo was not quite so unlearned in at you and see if you were truly as great as dragon-lore as all that, and if Smaug the tales say. I did not believe them." hoped to get him to come nearer so easily he "Do you now?" said the dragon somewhat

G raph G -l G raph G-3 W iz ard s E lv e s

G raph G-2 G raph G-4 H o b b its D w arves P age 2 2 M YTHLORE 49: Spring 1987

flattered, even though he did not believe a There is a noticable difference between the word of it. standard Hobbitish dialog spoken by Bilbo and that of "Truly songs and tales fall utterly Gollum or of the trolls. Tolkien has enhanced his short of the reality, 0 Smaug the Chiefest portrayal of Gollum by literally spelling out the and Greatest of Calam ities," replied Bilbo. creature's accent. The Trolls speak a Cockney dialect "You have nice manners for a thief and which reflects the crudeness of their physical bodies a liar," said the dragon. "You seem fam iliar and, more importantly, the crudeness of their souls. with my name, but I don't seem to remember With regard to the dialog of Smaug and the spiders, smelling you before. Who are you and where however, Tolkien has hinted at an additional parameter do you come from, may I ask?" used to depict character traits: the verbs and "You may indeed! I come from under the adverbal modifiers which introduce the dialog of the h ill, and under the hills and over the hills characters also contribute to the characters' my paths led. And through the air. I am he portrayal. Smaug "scoffs" and "sneers". Gollum and that walks unseen." the spiders "hiss". The question raised by this "So I can well believe," said Smaug, observation is, to what degree does Tolkien "but that is hardly your usual name." consistantly use introductory verbs and modifiers to "I am the clue-finder, the web-cutter, develop his characters? the stinging fly. I was chosen for the lucky n u m b er." In attempting an answer to this question during "Lovely titles!" sneered the dragon. the fall of 1981, I extracted from Tolkien's fantasy But lucky numbers don't always come off." works every verb and adverbal modifier which "I am he that buries his friends alive introduces dialog. These were entered into packed and drowns them and draws them alive again computer files according to the individual character from the water. I came from the end of a who was speaking, the speaker's race, the verb used bag, but no bag went over me." (if any), the adverbal modifier (if any), the person "These don't sound creditable," scoffed or thing addressed, the race of the one addressed, the Sm aug. responding verb (if any), the adverbal modifier (if "I am the friend of bears and the guest any), and the book and the page number where the of eagles. I am Ringwinner and Luckwearer; dialog was found. These files are displayed in the and I am barrel-rider," went on Bilbo Appendices of my dissertation, Linguistic Techniques beginning to be pleased with his riddling. Used to Develop Character in the Works of J.R.R. "That's better!" said Smaug. "But don't Tolkien (Appendix E—"Smith of Wooten Major", "Farmer let your imagination run away with you!" Giles of Ham", and "Leaf by Niggle"; Appendix F—The [Ibid., pp. 234-35] Hobbit; Appendix G—Fellowship of the Ring; Appendix H—Two Towers; Appendix I—; Appendix J—The Silm arillion; Appendix K—Unfinshed Tales). These entries were processed in a specially G ollum programmed account at the Purdue University Computer Center. This facilitated a controlled comparison of "It's no good going back there to any one of the entry elements with any other element search, no. We doesn't remember all of the or series of elements within the corpus. The results places we've visited. And its no use. The of these file manipulations were startling. For me at Baggins has got it in his pocketses; the least, there was no longer any question why Tolkien nassty noser has found it we says." was so concerned about changes in the dialog of The "We g u e s s e s , p r e c i o u s , o n ly g u e s s e s , We Lord of the Rings and why, for a singular instance, he can't know till we find the nassty creature pleaded with Ackerman not to have Gandalf "sputter". and squeezes it. But it doesn't know what Of all of the creatures in the Middle-Earth works, the present can do, does it? It'll just keep there is only two characterizations who "sputter" it in its pocketses. It doesn't know, and it while introducing dialog: Gollum and the spiders of can't go far. It's lost itself, the nassty . Gandalf never does. Tolkien's perturbation nosey thing. It doesn't know the way out. It was with Zimmerman's warping of character portrayal s a i d s o . " through changes in these verbs. "It said so, yes; but it's tricksy. It doesn't say what it means. It won't say what If Gandalf does not "sputter", what does he do? A it's got in its pocketses. It knows a way survey of the introductory verbs to dialog reveals in, it must know a way out, yes. It's off to that he "muses", "pauses", "sighs", "laughs", the back door, that's it." "exclaims", "growls", "gasps", "mutters", "sings", and "The goblinses will catch it then. It "interrupts". While it is true that other characters can't get out that way, precious." do much of the same, some of the verbs are quite "Ssss, sss, gollum! Goblinses! Yes, but character specific. Gandalf is the only character who if it's got the present, our precious "pauses" (although Pippin "hesitates" once) or present, then goblinses w ill get it, gollum! "explains". and Sam are the only other They'll find it, they'll find it, they'll characters who "muse". Frodo, Pippin, and all find out what it does. We shan't ever be "interrupt". In order to "growl" it appears that the safe again, never, gollum! One of the characters need to be old crusty types (Sam, Gimli, goblinses will put it on, and then no one Thorin, Galion), naturally gifted for growling will see him. He'll be there but not seen. (Beorn), or just plain nasty (the Ores). Almost Not even our clever eyeses w ill notice him; everyone "sighs", "laughs", "exclaims", "mutters", and and he'll come creepsy and tricksey and "sings" (even Ores). All Hobbits (and Bombur the catch us, gollum gollum!" ) "gasp"; everyone else appears to have their "Then let's stop taking, precious, and second wind. make haste. If the Baggins has gone that way, we must go quick and see. Go! Not far There are some dialog verbs that are racially now. Make haste!" [Ibid., p. 95-96] specific: only hobbits "stammer", "pant", "rejoin", M YTHLORE 49: Spring 1987 P a g e 2 3

and "argue"; certain hobbits "retort" (Sara and his (Saruman, Ores, Gollum, Wormtongue, and Spiders) father, the Gaffer) and "beg" (Sara and Bilbo); Ores though from time to time a good guv will fall from "hoot" (by themselves), "snarl" (with Bill), and grace momentarily' (Strider, Gimli, and other Dwarves). "order" (with Thorin); Dwarves "moan" a lot (as does Bilbo) and "grumble" (both Bilbo and Galion of the Evil has its own vocaulary as one might expect: Woodelves join in); all of the bad guvs "hiss" only Saruman and Smaug "scoff"; Ted Sandyman, Saruman,

G raph G-5 G raph G-7 R o h irrim Men

G raph G-6 G rap h G-8 O rc s S p id e r s P a g e 2 4 M YTHLORE 49: Spring 1987 the Ores, and, Smaug have a ll developed a talent for each "w ail" with him once; he "cackles" with Saruman, "sneering"; Smaug "gloats" and "snaps", "shrieks" and "croaks" with the (Roac the Raven joining in on the latter), "sputters" with the Gollum is quite interesting as a speaker of spiders, "squeals" with Bilbo, and "whimpers" and dialog: he "grovels", "shudders", "agrees", "weeps", "whines" w ith Wormtongue. and "pleads" a ll by him self; Mim the Dwarf and Legolas

G ra p h G -9 Graph G -ll W o se s D ra g o n s

Graph G-10 Graph G-12 E n ts Black Riders M YTHLORE 49: Spring 1987 P age 25

Bilbo "screams" and "sneezes" alone, "squeaks" time, however. Frodo does nothing uniquely although he with the 's Purse, and "begs" with Sam. Sam does "breathe" with Anborn and "insist" with Faramir. "blushes", "protests", and "ventures" by himself; The Gaffer is some what of a standout by being the "demands" (with Eomer), "grunts" (with the Dwarves), only character who "declares" and "repeats". He also "whistles" (with ), and is one of the few enjoys a good "jeer" occasionally (as do the Ores and who "muse"; he does not laugh and speak at the same m o st Men)

Graph G-13 Graph G-15 F ro d o B ilb o

Graph G-14 Graph G-16 Sam P ip p in P a g e 2 6 MYTHLORE 49: Spring 1987

How do one te ll Merry from Pippin? Both "m utter", As mentioned above, there is much "singing" "stammer", "pant", "whisper", "gasp", and "laugh". dialog together with "whistling". There are also those Pippin, however, is the only character who "hesitates" who "chant" (Bilbo, Treebeard, Gimli, Strider, and and "falters"; Merry is the only one who "proceeds". Theoden) and those who "hum" (Hobbits, Treebeard, and Between the two, Pippin is the one who "interrupts", Thorin). There are other sounds, not quite so "argues", and "wonders"; Merry "exclaims", "smiles", melodious: Sam and the Dwarves "grunt"; Bilbo, Smaug, and "chuckles" and the Dwarves "snort" (too much time underground, no doubt); and Treebeard "booms".

Only Men "scorn". With Saruman they "mock", with the ores they "jeer", with almost everyone else in M iddle-earth they "whisper", "exclaim", "murmur", and "mutter"; but they dk> know how to "laugh", probably their saving grace.

What does this all indicate? What we have sensed all along: that Tolkien exercized great care in delineating his characters, even to the point of carefully chosing the verbs and adverbs that introduce their dialog.

While it is interesting to note the use of these "marked" verbs and adverbal modifiers (that is, those which by virtue of their semantic value depict obvious characteristics of an individual), it is far more interesting (to me at least) to discover the contribution of the "unmarked" verbs and modifiers to character portrayal. If it is true that Tolkien was as concerned with the use of "unmarked" verbs as he was with other details of the narrative dialog (which is what this paper is attempting to establish), then the overall assessment of Tolkien's skill as a literary genius would have to be reevaluated. In order to produce this kind of substantiating data, I selected seven relatively unmarked parameters for analysis: (1) Speaker use of the verb "said"; (2) Addressee use of the verb "said"; speaker utterance without an introductory verb, "()"; (4) ’Addressee utterance Graph G-17 without an introductory verb, "()"; (5) Speaker using M erry no adverbal modifier, " "; and (7) Addressee without any responding utterance, " ". Each of the major races was completely surveyed as to the frequency with which all of the characters combined used each of the seven parameters: (W), Hobbits (H), Elves (E), Dwarves (D), Rohirrim (R), Ores (0), Men (M), Spiders (S), Woses (Wo), (En), (Dr), and Black Riders (BR). By dividing the raw number for each parameter by the total number of dialog entries for the particular race, a series of percentages for each race was calculated. Finally, the raw total for each parameter was divided by the total number of entries, regardless of race, in order to produce a mean percentage value for each parameter.

Graphs G-l through G-12 plot the percentages for each of the races according to their use of a particular parameter. The scaling for each of the parameters varies in order to display the relationships between some of the more condensed percentage values. The scaling was determined by dividing the difference between the mean and the most extreme point of divergence from the mean in each parameter, by a constant increment. The scaling does not affect the data; it simply makes it easier to read the graph. Another liberty taken was to have some scales ascending and some descending in order to eliminate as much line crossover as possible in the original overall comparitive display (not given here). The scaling is, however, consistent throughout the several graphs.

Although many observations could be made about Graph G—18 the various races and their usage of the seven G ollum parameters, one of the most fascinating is the fact MYTHLORE 49: Spring 1987 P age 27 that the racial line which most closely parallels the By comparing the plots of Graphs G-13 through mean is that of the Hobbits (Graph G-2). Intuitively, G-18 with those of Graphs G-l through G-12, other this seems right. The Middle-Earth stories are interesting correlations are discovered. Gollum's line primarily told from the point of view of the Hobbits. (G-18) somewhat parallels that of the Ores (G-6) The amazing thing, however, is that when each of the around whom he lived for so long in the heart of the major Hobbit characters are plotted on the same scale, Misty Mountains. Merry and Pippin's lines (G-16; G-17) Tolkien's consistant feel for his characters, even in parallel that of the Rohirrim (G-5) which may be in these "unmarked" parameters, is incredibly detailed. turn a reflection of the overall use of the parameters by all men in : Frodo's line (G-13) parallels Graphs G-13 through G-18 display the plottings that of Men (G-7). Oddly enough (though not to the for Frodo, Sam, Bilbo, Pippin, Merry, and Gollum same degree), Bilbo's pattern (G-15) follows that of together with the mean and the racial line for all the Dragons (G -ll) which may be an indication of why Hobbits. Several intriguing observations can be made it was that he and Smaug got along so well verbally. at this point. The personal line which most closely parallels the racial line of the Hobbits is that of Needless to say, the above observations are Samwise Gamgee, indicating to me at least that Sam is tentative, but they do raise a question as to why more the "central" character than any other. Keeping these patterns exist statistically if they do not in mind what we now understand about the history of indicate something of Tolkien's sensitivity for the and other Hobbitish character relationships and interactions. It is highly manuscripts, this seems completely consistent. Merry unlikely that in developing his characters, Tolkien and Pippin's lines systematically parallel each other, himself worked out statistical delim itations for each substantiating in a simple linguistic way one of the of these marked and unmarked parameters, but the fact reasons why it is difficult to distinguish between the remains that the patterns exist and, to this reader at two. The lines of Bilbo and Gollum generally move in least, are consistent with the total portrayal of the opposite directions from one another; that is, when characters. one ascends, the other descends as if they were mirror images of each other.

A ppendix

The following list of dialog introductory verbs g ro w led ...... Sam; G a n d a lf; G im li; O re s ; T h o rin ; are taken from and the Lord of the Rings Galion; Beorn without indication as to which. Those names introduced w h is tle d ...... Sam; Tom B. with "U-" indicates verbs and characters in Unfinished s ig h e d ...... Sam; Frodo; Legolas; Treebeard; Tales; those with "S-" are from The Silm arillion. Of Gandalf; Beregond; S-Thingol; interest is the fact that there are few marked verbs U-Thingol; U- in (the five referenced here are the v e n tu re d ...... Sam only instances by any character). Poes that suggest mused ...... Sam; G a n d a lf; S arum an; U -T u rin something about the popular appeal of the Lord of the c r i e d ...... F ro d o ; Tom B .; G ollum Rings versus The Silmarillion? Might the "return" to la u g h e d ...... F ro d o ; B ilb o ; P ip p in ; M erry ; E lv e s ; dialog in recommend its reading to Gildor; Treebeard; Tom B.; Gandalf; those who were "disappointed" by the style of The Pippin; Gimli; Ores; Strider; Eothain; Silm arillion? The same might be said of the subsequent Beregond; Denethor; Elves; Men; volumes of the History of M iddle-earth. Spiders; Smaug; S-; S-Glaurung; S-Turin; U-Elves; U-Androg; U-Morwen; U-Men; U-Gandalf; r e t o r t e d ...... Sam; Gaffer U -Sarum an e x claim ed ...... Sam; F ro d o ; M erry ; M aggot; C o tto n ; interrupted ... Frodo; Pippin; Gandalf; Galdalf; Legolas; Gandalf; Gimli; Men; Strider; B eorn Eomer; Ioreth; Galdalf; Bilbo b r e a th e d ...... Frodo; Anborn m u tte re d ...... Sam; Frodo; Pippin; Merry; Gandalf; i n s i s t e d ...... Frodo; Faramir Gimli; Gollum; Men; Strider; Theoden; san g ...... Frodo; Bilbo; Hobbits; Hobbits; Eomer; Boromir; Dwarves; Thorin; Legolas; G aladriel; Gandalf; Balin; Beorn; Bilbo; U-Tuor; U-Androg Strider; Dwarves; Elves; Ores demanded ...... Sam; Eomer sm ile d ...... Bilbo; Merry; Faramir; Theoden; Smaug stam m ered ...... Sam; F ro d o ; B ilb o ; P ip p in ; M erry c h a n te d ...... Bilbo; Treebeard; Gimli; Strider; begged ...... Sam; Bilbo T heoden b lu sh e d ...... Sam snorted ...... Bilbo; Gimli; Smaug; Bilbo; U-Thorin p a n te d ...... Sam; Pippin; Merry a rg u ed ...... Pippin; Sandyman p r o t e s t e d ...... Sam h e s i t a t e d ...... P ip p in w h isp e re d ...... Sam; Frodo; Bilbo; Pippin; Merry; f a l t e r e d ...... P ip p in Fredegar; Legolas; Radagast; Saruman; w ondered ...... Pippin; U-Turin Gollum; Men; Strider; Eowyn; Gollum; p ro c ee d ed ...... M erry Bilbo; U-Tuor c h u c k le d ...... Merry; Balin; Beorn; U-Brandir g ro a n ed ...... Sam; Strider; Dwarves; Bilbo f l i t t e d ...... M erry g asp ed ...... Sam; Frodo; Pippin; Merry; Hobbits; s n e e re d ...... T ed; Sarum an; O re s ; Smaug Gandalf; Bombur; Bilbo d e c la r e d ...... G a ffe r g ru n te d ...... Sam; D w arves r e p e a te d ...... G a f f e r o b je c te d ...... Sam; Frodo; Fredegar; Gollum; Boromir j e e r e d ...... G a f f e r ; O re s ; Men murmured ...... Sam; Frodo; Hobbits; Treebeard; Tom s h o u te d ...... H o b b its ; Men Bombadil; Gimli; Gollum; Men; Strider; hummed ...... Hobbits; Treebeard; Thorin T h o rin ; Men r e jo i n e d ...... H o b b its P age 2 8 MYTHLORE 49: Spring 1987

w a ile d ...... Legolas; Gollum; U-Mim s p u t t e r e d ...... Gollum; Spiders boomed ...... T re e b e a rd w ept ...... G ollum p au sed ...... G a n d alf ended ...... G ollum ; B o ro m ir; B ilb o s c o f f e d ...... Sarum an; Smaug s q u e a le d ...... Gollum; Bilbo declaimed ..... Saruman p le a d e d ...... G ollum h is s e d ...... Saruman; Gimli; Ores; Gollum; p e r s i s t e d ...... Boromir; Bilbo Wormtongue; Strider; Dwarves; Gollum; gru m b led ...... Dwarves; Galion; Bilbo S p id e r s moaned ...... Dwarves; Bilbo mocked ...... Saruman; Men; Mouth of ; y e ll e d ...... O rc s U-Hurin; U-Turin g r u f f l y ...... B eorn c a c k le d ...... Saruman; Gollum g lo a te d ...... Smaug h o o te d ...... O rc s sn ap p ed ...... Smaug snarled ...... Orcs; Bill sq u e a k ed ...... Purse; Bilbo o rd e re d ...... O rc s ; T h o rin s n e e z e d ...... B ilb o g ro v e le d ...... G ollum s c r e a m e d ...... B ilb o w him pered ...... G ollum ; W ormtongue c o u n s e le d ...... S-H uan whined ...... Gollum; Wormtongue commanded ...... S-Luthien; U-Eorl sh u d d e re d ...... G ollum ta u n te d ...... S-Saeros; U-Rohirrim s h r ie k e d ...... Gollum; Orcs; Gollum s c o rn e d ...... U-Men a g re e d ...... G ollum r e tu r n e d ...... U -E re n d is c ro a k e d ...... G ollum ; O rc s ; Roac e x p la in e d ...... U -G an d a lf

Fergus O'Connor and the Mermaid

"The fishing net is heavy filled , "A lord needs power to prove his worth, So rise it steady and slow — Else all his gold is dumb; I'll have me haul to sell today, Whenever he his fingers snap, So heave, me fellow s, ho!" A dozen lords should come." But strange to tell the net was filled She cupped her hands within the net, Though they had caught few fish , And sang some words at w ill — For yet a mermaid in their web Not Latin from an ancient scroll Was raised against her wish. Nor Gaelic older still. Her hair was yellow gold, green-flecked; A dark cloud rose upon the verge, Her skin, sun-tanned and hale; The breeze picked up a b it, Her lips and nipples, a brownish rose; The waves grew stronger in the wind — And golden green, her ta il. Against the boat they hit. "I beg your pardon, holy one, "And third, I'd like the gentry girl That you be tangled so —" Who lives above the bay — "Then loose the net, 0 fisherman, Sole heir she is of that fine house, And let me silent go." Of all that pride and sway." "Of course, of course, but first you'll give The mermaid sang again her song, In gratitude most rare, So soft, as the tide had ebbed; Likely a gift, a little thing, She raised her right hand in the net, Since you're not shown at the fair?" Her fingers spread and webbed. "What g ift dost thou demand, my lord, The cloud now covered half the sky, Who holds my life in fee?" The wind was blowing strong; "Oh n o t so b r u t a l i s me h o ld — She smiled to see the rising waves I'll ask but wishes three." Which with the storm belonged. "My spells are ocean born, my lord; "You fool, you fool," she cried to him, They do no touch elsewhere." " K ill me o r k i l l me n o t - - "Myself am sure you'll shape them w ell, The clouds have come, the winds are high, You'll spell with utmost care." The waves rise at this spot. "Thy wish is my command, my lord; "You fool, you fool, your death is here — I'll try to do thy w ill." You'll sink to gold below; The sun was shining on the boat; A foolish girl w ill cry about The winds were almost s till. Dead fishers she did not know." "I like the simple phrase 'me lord,' "But power! me power! you gave me power — But fishers have no gold; I'll make the storm hold fast." Likely a chest or two of coin "The only power that you've received Would make me name extolled." Is in the mighty blast." "That takes of magic none, my lord, For thirty fathoms deep, by Joe R. Christopher A galleon lies with gold enough To make the English weep."