The Phoenix and the Carpet
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 Cover of the Puffin Classics edition of The Phoenix and the Carpet |
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| Author | Edith Nesbit |
|---|---|
| Illustrator | H.R. Millar |
| Country | United Kingdom |
| Language | English |
| Series | Psammead Trilogy |
| Genre(s) | Fantasy, Children's Novel |
| Publisher | Newnes |
| Released | 1904 |
| Media type | Print (Hardback & Paperback) |
| ISBN | NA |
| Preceded by | Five Children and It |
| Followed by | The Story of the Amulet |
The Phoenix and the Carpet is a fantasy novel for children, written in 1904 by E. Nesbit. It is the second in a trilogy of novels that began with Five Children and It (1902), and follows the adventures of the same five children – Cyril, Anthea, Robert, Jane and the Lamb. Their mother buys the children a new carpet to replace the one from the nursery that was destroyed in an unfortunate firework accident. Through a series of exciting events, the children find an egg in the carpet which hatches into a talking Phoenix. The Phoenix explains that the carpet is a magical one that will grant them three wishes per day. The five protagonists go on many adventures all over the world which eventually wears out their magical carpet. The adventures of the children are continued and conclude in the third book of the trilogy, "The Story of the Amulet" (1906).
Contents |
[edit] Characters
Main Characters:
Cyril - the oldest of the five children. He is given the nickname squirrel. Cyril often takes on the role of leader and is sensible and level headed. He is also the main decision maker for the children - though his decisions are sometimes challenged he often has the final say in what the children do. Between the boys, Cyril is more considerate of morals when making decisions.
Anthea - the second oldest of the children. She is given the nickname Pantha or Panther. She takes on the role of the mother figure among the children. She is rational and also considers morals when helping to make decisions. Anthea is polite, considerate, and well mannered. She is the one who has the sewing skills to fix the carpet and shows the most compassion and remorse for the carpet.
Robert - the third oldest of the five children. He is given the nickname Bob or Bobs. He is the one that the Phoenix is most attached to because he originally dropped the egg into the fire. Though Robert is one of the younger children he represents an adult voice in the story - he re-collects and tells the other children ‘facts’ that he gathered from his father over the years. Robert is also the one child that thinks to bring candles on the adventure after experiencing the dark tower/cave on the first carpet trip. He often takes on the role of protector of his sister’s and the phoenix.
Jane - the fourth child in the family. Her nickname is Pussy. She is stereotypical representation of a nineteenth century ‘girl’ child - afraid, needs male protection, and innocent. Jane is also the one who persuades the burglar to milk the cow instead of rob the house.
Lamb/Hilary - the baby and youngest of the children. His name is given in the book Five Children and It. The nickname given to him is Lamb. He is curious and reliant on others. Lamb also takes on the role of childhood innocence. His solo adventure on the carpet is one of the reasons why the children decide the phoenix and carpet must go.
Phoenix - The Phoenix is vain and arrogant and hides the fact that he cares for the children until they are in trouble. As well, he is lonely and in constant search of praise. The Phoenix becomes a main decision maker and rescuer for the children when they cannot agree with where to go or how to get out of a situation. He is the only one that understands the carpet.
Carpet - The carpet is a silent figure in the story and yet one of the most important characters. It cannot think for itself; it is obedient, noble, and it takes the abuse of the children. The carpet places the children in bad situations, however, it is also the instrument often used to get them out of those situations.
Supporting Characters:
Father - The father is relatively absent throughout the story. He shows up to provide for the children’s entertainment needs but leaves other child rearing duties to the mother. It is the father that sends the four older children to the playhouse. He is the stereotypical male/father figure of the nineteenth century.
Mother - Mother is the angel of the house. He is more concerned with Lamb and gives the other children more freedom to do what they please. She goes out of the house often to meet with friends and she takes part in socials such as the bazaar.
Cook - In the beginning of the story the cook is constantly frustrated, annoyed by the children, impatient, and unpleasant to towards everyone in the household. She sees the children as a menace and cause of her stress. Once she becomes Queen of the island natives she becomes calm, serene, cheerful, and enjoys praise. On the island she never comes to accept reality and instead thinks she is in a long dream.
Burglar - The Burglar is simple minded, kind, and somewhat inexperienced. He is swayed by Jane to milk the cow instead of rob the house. He is even convinced to take the cats that he hates. He goes to jail for selling the cats on the street, however, once he is freed by the children he marries the cook.
Reverend Septimus Blenkinsop - The Reverend performs the marriage ceremony for the cook and burglar. He is indecisive, friendly, honest, and curious of things magical or unknown to him. He is also a scientist and botanist.
Psammead - The Psammead is a magical figure connected to the children from the first book. It is never seen in the text by anyone but the children. This magical creature takes on the role of a Deus Ex Machina - it steps in throughout the story to rescue the children from the various situations they find themselves in.
[edit] Plot summary
This middle volume of the trilogy that began with Five Children and It and concludes with The Story of the Amulet deviates somewhat from the other two, partly due to the Psammead merely getting a brief mention, and partly because this is the only volume in which the children live with both of their parents and their younger brother -- the Lamb -- in their home in London. Consequently, there is less alienation and sense of loss in this volume than in the other two. In both of the other volumes, circumstances have forced the children to spend a protracted period away from their familiar London home and their father; in Amulet, their mother and the Lamb are absent as well.
A continuing theme throughout The Phoenix and the Carpet is, appropriately enough, the ancient element of fire. The story begins shortly before November 5, celebrated in England as Guy Fawkes Night. Traditionally, children light bonfires and set off fireworks on this night. The four children have accumulated a small hoard of fireworks but are too impatient to wait until November 5 to light them, so they set off a few samples in the girls' bedroom. This results in a fire that destroys the carpet.
Their parents purchase a second-hand carpet which, upon arrival, is found to contain an egg that emits a weird phosphorescent glow. The children place this egg near the fire: it hatches, revealing a golden Phoenix who speaks perfect English. The Phoenix is a well-defined character in his own right; he has a high opinion of his own beauty and intelligence, and he claims (apparently truthfully) to have lived many lifetimes.
It develops that this is a magical carpet, which can transport the children to anywhere they wish in the present time. (Time travel does not become available until the third book in the series.) Accompanied by the Phoenix, the children have exotic adventures in various climes. There is one moment of terror for the children when their youngest brother, the Lamb, crawls onto the carpet, babbles some incoherent baby talk, and vanishes. The carpet, knowing all languages including "Bosh" was able to interpret the Lamb's infantile wish. Fortunately, the Lamb only desired to be with his mother.
At a few points in the novel, the children find themselves in predicaments from which the Phoenix is unable to rescue them by himself; he goes to find the Psammead and has a wish granted for the children's sake. In addition, in the end, the carpet is sent to ask the Psammead to grant the Phoenix's wish. These offstage incidents are the only contribution made by the Psammead to this story.
The Phoenix and the Carpet features some intriguing depictions of London during the reign of Edward VII. At one point, the children and their supernatural bird visit the Phoenix Fire Insurance Company: the egotistical Phoenix assumes that this is his modern-day temple, and the insurance executives must be his acolytes. The children also have an encounter with two older ruffians named Herb and Ike who attempt to steal the Phoenix; Ike (Isaac) may have been intended as a Jewish stereotype; other works by Nesbit have negative portrayals of Jews that indicate a degree of anti-Semitism.
Possibly the most interesting chapter in this novel occurs when the four children attend a Christmas pantomime at a West End theatre, smuggling the Phoenix along inside Robert's coat. The Phoenix is so excited by this spectacle that he unintentionally sets fire to the theatre. In Edwardian times, many theatres in Britain and the United States were fire-traps, and it was not unusual for a conflagration in a theatre to produce hundreds of deaths. This chapter is vivid and highly convincing, but all ends well when the Phoenix magically reverses the damage: no one is harmed, and the theatre remains intact.
One aspect of The Phoenix and the Carpet that is atypical for children's fantasy fiction is the fact that, in this story, the magical companion does not treat all the children equally. The Phoenix insists on favouring Robert over his brother Cyril and their sisters. This is a mixed privilege, as Robert is lumbered with the duty of smuggling the Phoenix past their parents at inconvenient moments.
In the novel's final chapter, the Phoenix announces that he has reached the end of his current lifespan and must begin the cycle again. Under the Phoenix's direction, the children prepare an altar with sweet incense. The Phoenix immolates himself, and the magical carpet has also reached the end of its span. There is a happy ending, with the children receiving a parcel of gifts from an unknown benefactor, and Robert receiving a single golden feather. But the feather has vanished by the evening and it is truly the last of the Phoenix and the Carpet.
The last volume in the series, The Story of the Amulet, contains a minor episode in which the children travel thousands of years into the past and encounter the Phoenix, who does not recognise them because, in his linear timeline, the events of the previous book have not happened yet.
[edit] Chapter Summary
Chapter One: "The Egg"
When their old carpet is destroyed by their fireworks, the siblings get a new nursery carpet and discover a mysterious egg wrapped within it. In an accident, Robert rolls the egg into the fire and out hatches the Phoenix, who tells the tale of the magic carpet.
Chapter Two: "Topless Tower"
The children go on their first adventure with the carpet and the phoenix and while they discover treasure they also learn the limitations of the carpet and must get rescued by the Psammead's wish fulfilling abilities.
Chapter Three: "The Queen Cook"
While on an adventure to cure the Lamb of whooping cough, the children take along their cook by accident. Once at the sunny seaside, the Cook is thought to be a Queen by the native savages and is content to be left behind.
Chapter Four: "Two Bazaars"
The children go on an adventure with the carpet to India and so they can find items for their mother can sell in her Bazaar.
Chapter Five: "The Temple"
After helping the children change the weather to permit an adventure, the Phoenix asks them to take him to one of his temples. At the "temple", the children and the phoenix are honoured guests of a ceremony to celebrate the Phoenix, yet once they leave all the gentlemen believe it to have been a dream.
Chapter Six: "Doing Good"
The carpet takes the children abroad to do a good deed, they meet a sad French family and return their family treasure to them (the treasure discovered in Chapter 2).
Chapter Seven: "Mews From Persia"
The children are meant to meet their aunt at the train station, but Robert forgot to send his mother's instructions for the aunt to meet them. The children go home alone and break into their own home. The carpet wants to visit its homeland, so the children let it go and the carpet brings back 199 Persian cats.
Chapter Eight: "The Cats, The Cow and The Burglar"
The carpet takes away the musk-rats and brings a cow. Jane confronts a burglar, finds him kind, and gives him the cats to sell.
Chapter Nine: "The Burglar’s Bride"
The children setup Burglar with Cook for Holy Matrimony.
Chapter Ten: "The Hole in the Carpet"
Despite the damaged state of the carpet, the children desire to go on one more adventure before their mother returns. Robert and Jane fall through a hole in the carpet, which continues on and takes Cyril and Anthea to their Uncle Reginald. Jane and Robert fall into a house and meet the priest who married the cook and burglar, but they are rescued by the Phoenix getting help from the Psammead.
Chapter Eleven: "The Beginning of the End"
The children go to the theatre with the Phoenix. The Phoenix flies around the theatre and starts a fire. The carpet brings the children home safely.
Chapter Twelve: "The End of The End"
The Phoenix and the Carpet go away but the Phoenix sends the children all the toys they have ever wanted as a thank you.
[edit] Themes and Issues
References Made By Nesbit to other Literature
Nesbit makes reference to many different works of literature that were familiar to and recognized by the children in the early 20th century. The works include: King Solomon's Mines, The Count of Monte Cristo, Talking as in Ms. Kipling's books(poems and books set in india),The Arabian Nights' Entertainment and many others.
An assumption that Nesbit made while writing The Phoenix and the Carpet was that children of the era were familiar with religious text such as Nahum Tate and Nicholas Brady—A New Version of he Psalms of David.
There was also the assumption that children were exposed to popular culture such as The Stand, which was the magazine that The Phoenix and the Carpet was originally published in. She makes references to the burglar stories, such as Edith’s Burglar by Frances Hodgson Barnett. The burglar stories would also have been published in magazines.
Gender Roles
Nesbit challenges traditional gender roles in the Phoenix and the Carpet through her young protagonists and their Phoenix companion . Nesbit's phoenix is asexual and referred to as 'it' yet has masculine qualities such as power and pomp while also portraying fragility and helplessness associated with Edwardian women. Nesbit's child protagonists also break gender roles with the adventurous girls Anthea and Jane studying Euclidean geometry and attending the theatre while the boys Robert and Cyril help out with domestic chores.
Intrusion Fantasy
The Phoenix and the Carpet is an intrusion fantasy because it includes marvelous creatures, like the Phoenix, magical objects, like the flying carpet, and fantastic events, like cruising on the carpet, that intrude into the realistic world in which the protagonists live. Normally, characters from intrusion fantasy are surprised by the fantastic elements that enter their world. However, the children in The Phoenix and the Carpet are not surprised because they have encountered fantastic elements in The Five Children and It. Adults within the novel are in disbelief of the fantastic elements because they try to rationalize the fantastic as a dream, or simply insanity. Intrusion fantasy differs from secondary fantasy because secondary fantasy is set in an alternate world with no magical doors to the realistic world. (A good example of a secondary fantasy is J.R.R. Tolkien’s The Lord of the Rings).
Social Class Distinctions
In 1903, much like the early 21st century, social class was distinguished by occupation, education and language. It is important to note that Nesbit was writing this novel for a middle class audience. The novel contains some discriminating stereotypes of both the lower and upper classes. Nesbit portrays the cook as belonging to the lower class through the use of the cook's dialect and occupation. For example, when the cook is referring to the magic carpet she says, "There's that there new carpet in their room" (Chapter 3). Her elocution displays her lack of education which in turn reflects her low social status as a servant. The upper class on the other hand, have money, status, education and a more refined dialect. The upper class have the luxury of squandering their time on frivolous activities whenever they please. In the novel for instance, the mother's children leave them behind and go to the theatre whenever she pleases. Furthermore, Nesbit may be portraying social classes in this way to "poke fun" at the social conventions of the time.
Narrator Relationship
Nesbit creates a narrator who seems to be an adult voice speaking to the child reader. When an adult reads the narrative out loud to a child listener he/she takes on the role of the narrator. The narrator uses side commentary and questions to relate the narrative to the child listeners and their reality. For example the narrator defends children's follies, yet states how they are wrong in a way that makes the children more willing to understand the didactic message. This puts both the child and adult at ease, because Nesbit presents both points of views.
Style of Speech
Looking at the differences of literature one hundred years ago and today class, slang and culture influence style of speech. One hundred years ago middle class written language was very sophisticated and aimed at a particular audience. Today's speech, while still middle class, has become much more simplistic. Differences in time and/or culture may cause difficulties for readers in understanding slang.
Style of Narration
The Phoenix and the Carpet is written in first person narration with the assumption that an adult is reading the story to children, whereas in today's literature it is often a character (typically a child or animal) who narrates.
Social Realities
One hundred years ago children had more freedom of movement, social responsibilities and independence. Today, however, children are far more restricted and parents are much more paranoid as to what they will allow their children to do.
Realistic portrayals of middle-class Children
A common theme in E. Nesbit’s novel The Phoenix and the Carpet is the realistic portrayal of children as human beings. While the children in the novel are not impossibly sweet and innocent, they are not little devils either. Instead, the children are what Norton’s Anthology of Children’s Literature describes as “an example of believable middle-class children who experience a series of adventures in unforeseen circumstances” (Zipes, et al). In the novel, the children are portrayed as believable Edwardian middle-class children who are neither angles nor devils. Evidence of the children as the opposite of impossibly sweet and innocent can be gleaned from the amount of trouble the children often get themselves into. In Chapter I, the children set off fireworks which nearly burns nursery, while in Chapter III, the children’s misdemeanours are listed out. Through the course of the novel, the children call each other names such as “duffer” and frequently squabble with each other over trivial matters such as testing out their fireworks (Chapter I). Nesbit’s characters are not exactly angelic children, but they are not little devils either. While the children nearly set the nursery ablaze, they do not do so intentionally. Similarly, while petty names and squabbles are often exchanged, the children display strong family values by looking out for each other. Examples of these can be gleaned from the children’s unanimous decision to stay put in the house on Anthea’s plea (Chapter VII), and their elation at their mother’s return (Chapter X). The children also display a sense of right and wrong in many instances .In Chapter IV, Anthea feels bad about the amount of distress Cook’s disappearance causes her mother, and decides to tell the truth. In the above-mentioned ways, Nesbit’s realistic portrayal of children subverts the conventional Romantic ideals of children as innocent, saccharine-sweet angels.
Racial Issues
Society in 1903, in terms of culture and general opinion, was very different from modern society. Ideas which our society may deem as highly convtroversial or taboo, were for the most part, the general attitude of the society which Nesbit was a product. As a result, Nesbit's work has been criticized as being outrightly racist. However, we of course must examine the cultural context. In chapter three, the children accompanied by the Phoenix encounter people who they describe as having a copper-like skin color and their supposed uncivilized, savage and cannibalistic nature is implied. The children give the "savages" no chance to introduce themselves, as they immediately make assumptions about their nature, supposed ignorance and their lack of hygenic standards. "They must hate water. I've--heard--savages always--dirty" (Chapter 3). However, Nesbit's intent may not be simply to highlight racism as proper or correct, but to criticize and challenge her society's assumptions and ideas about other races. She criticizes her society's ideas by insinuating the children's ignorance and reluctance to change their negative assumptions. Similarily, critics have interpreted Nesbit's work also as anti-semitic. In chapter 5, the exchange involving the children and Herb and Issac seems to some to insinuate anti-semitic stereotypes via class distinctions. However, this claim seems to be less convincing than the former involving the social unrest and confusion brought about by the interaction with the "savages" (Chapter 3).
[edit] Typography
A typographic comment: the word 'Phoenix' occurs in the text of this novel literally hundreds of times -- including page headers -- and in several different type fonts, including Roman, Italic, Boldface and Small Caps. In every single instance, the word 'Phoenix' is rendered Phœnix, with the letters 'oe' joined as a single character (œ) in the style known as a ligature. All the early editions of this novel were published in lead type: a technology which requires the typesetter to possess as many copies of each typographic character as it occurs in the text. Because the 'oe' ligature is so rare in modern English, most type fonts contain at most only one or two copies of this character. The typesetting for The Phoenix and the Carpet required a special casting of hundreds of copies of this ligature.
[edit] Film and Television Adaptations
The novel was released as the 1995 film, The Phoenix and the Magic Carpet, directed by Zoran Perisic, and starring Peter Ustinov as Grandfather/Voice of Phoenix, Dee Wallace-Stone as Mother, Timothy Hegeman as Chris, Laura Kamrath as Anthea, Nick Klein as Robert, Ewen Bremner as Joe, Nicole Lengenberg as Helga and Maya Zekina as Maia.
It was also adapted into a BBC TV series twice, first in 1976 and again in 1997.
[edit] Release details
- 1904, UK, Newnes (ISBN NA), Pub date ? ? 1904, hardback (First edition)
- 1956, UK, Ernest Benn (ISBN NA), Pub date ? ? 1956, hardback (special edition for the "Phoenix Assurance Company")
- 1978, USA, Pergamon Press (ISBN 0-8277-2144-7), Pub date ? June 1978, hardback
- 1995, UK, Puffin Books (ISBN 0-14-036739-X), Pub date 23 February 1995, paperback
- 1995, UK, Wordsworth Editions Ltd (ISBN 1-85326-155-6), Pub date ? March 1995, paperback
- 1999, USA, Yestermorrow Inc (ISBN 1-56723-170-5), Pub date ? April 1999, paperback
