The Story of the Amulet by E. Nesbit (important books to read txt) 📕
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In this conclusion to the Psammead Trilogy, Cyril, Anthea, Robert, and Jane are reunited with the cantankerous Sand-fairy. While the old creature can’t grant them wishes anymore, it points them towards an old Egyptian amulet that can grant their hearts’ desire—in this case the return of their parents and baby brother. While their amulet is only half of a whole, it still acts as a time portal which they use to visit locales like Ancient Egypt, Babylon, Atlantis, and even a utopian future in search of the missing other half.
Perhaps one of E. Nesbit’s most personal works, The Story of the Amulet benefited from her interest in the ancient world, particularly Egypt. With the help of A. E. Wallis Budge, to whom the book is dedicated—then Head of the Assyrian Departments of the British Museum and translator of the Egyptian Book of the Dead—she conducted extensive research on the topic and is thus able to bring an exquisite attention to detail. For example, the titular amulet is shaped after the tyet, an Egyptian symbol also known as the “knot of Isis.” Likewise, the inscription at the back of the amulet is written in authentic Egyptian hieroglyphs.
A staunch supporter of democratic socialism and a founding member of the Fabian Society, E. Nesbit cultivated friendships with other like-minded writers, such as George Bernard Shaw and H. G. Wells, whose influence on this book is easy to notice. She practiced what she preached, so much so that despite her literary successes, her acts of charity brought her close to bankruptcy.
These political beliefs are prominently displayed in the book. The children encounter memorable characters during their adventures, chief among them the Queen of Babylon, who causes quite a stir when she later pays them a call in their contemporary London. When the visiting Queen witnesses the squalid living conditions of the London working class, she’s amazed at how poorly they’re treated compared to the slaves of her own Babylon. Likewise, the utopian future—which features a wink to her friend H. G. Wells, the “great reformer”—is a striking contrast in terms of the happiness, care, and education of the general populace.
The book’s legacy can be found in the works of other writers. Most notably, C. S. Lewis incorporated several elements in his Chronicles of Narnia: the Calormene civilization of The Horse and His Boy draws heavily from The Amulet’s Babylon, and the episode in The Magician’s Nephew where Jadis, the White Witch, causes chaos during her short stay in London is also a direct homage to the aforementioned visit from the Queen. The format of these stories, where a group of people take their audience on adventures through time and space to learn about distant cultures, is an uncanny precursor to the popular British TV series Doctor Who.
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- Author: E. Nesbit
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“What shall we sing?” Cyril was asking.
“Sweet and Low?” suggested Anthea.
“Too soft—I vote for ‘Who Will O’er the Downs.’ Now then—one, two, three.
“Oh, who will o’er the downs so free,
Oh, who will with me ride,
Oh, who will up and follow me,
To win a blooming bride?
Her father he has locked the door,
Her mother keeps the key;
But neither bolt nor bar shall keep
My own true love from me.”
Jane, the alto, was missing, and Robert, unlike the mother of the lady in the song, never could “keep the key,” but the song, even so, was sufficiently unlike anything any of them had ever heard to rouse the Babylonian Court to the wildest enthusiasm.
“More, more,” cried the King; “by my beard, this savage music is a new thing. Sing again!”
So they sang:
“I saw her bower at twilight gray,
’Twas guarded safe and sure.
I saw her bower at break of day,
’Twas guarded then no more.
The varlets they were all asleep,
And there was none to see
The greeting fair that passed there
Between my love and me.”
Shouts of applause greeted the ending of the verse, and the King would not be satisfied till they had sung all their part-songs (they only knew three) twice over, and ended up with “Men of Harlech” in unison. Then the King stood up in his royal robes with his high, narrow crown on his head and shouted—
“By the beak of Nisroch, ask what you will, strangers from the land where the sun never sets!”
“We ought to say it’s enough honour, like the dancer did,” whispered Anthea.
“No, let’s ask for It,” said Robert.
“No, no, I’m sure the other’s manners,” said Anthea. But Robert, who was excited by the music, and the flaring torches, and the applause and the opportunity, spoke up before the others could stop him.
“Give us the half of the Amulet that has on it the name Ur Hekau Setcheh,” he said, adding as an afterthought, “O King, live-forever.”
As he spoke the great name those in the pillared hall fell on their faces, and lay still. All but the Queen who crouched amid her cushions with her head in her hands, and the King, who stood upright, perfectly still, like the statue of a king in stone. It was only for a moment though. Then his great voice thundered out—
“Guard, seize them!”
Instantly, from nowhere as it seemed, sprang eight soldiers in bright armour inlaid with gold, and tunics of red and white. Very splendid they were, and very alarming.
“Impious and sacrilegious wretches!” shouted the King. “To the dungeons with them! We will find a way, tomorrow, to make them speak. For without doubt they can tell us where to find the lost half of It.”
A wall of scarlet and white and steel and gold closed up round the children and hurried them away among the many pillars of the great hall. As they went they heard the voices of the courtiers loud in horror.
“You’ve done it this time,” said Cyril with extreme bitterness.
“Oh, it will come right. It must. It always does,” said Anthea desperately.
They could not see where they were going, because the guard surrounded them so closely, but the ground under their feet, smooth marble at first, grew rougher like stone, then it was loose earth and sand, and they felt the night air. Then there was more stone, and steps down.
“It’s my belief we really are going to the deepest dungeon below the castle moat this time,” said Cyril.
And they were. At least it was not below a moat, but below the river Euphrates, which was just as bad if not worse. In a most unpleasant place it was. Dark, very, very damp, and with an odd, musty smell rather like the shells of oysters. There was a torch—that is to say, a copper basket on a high stick with oiled wood burning in it. By its light the children saw that the walls were green, and that trickles of water ran down them and dripped from the roof. There were things on the floor that looked like newts, and in the dark corners creepy, shiny things moved sluggishly, uneasily, horribly.
Robert’s heart sank right into those really reliable boots of his. Anthea and Cyril each had a private struggle with that inside disagreeableness which is part of all of us, and which is sometimes called the Old Adam—and both were victors. Neither of them said to Robert (and both tried hard not even to think it), “This is your doing.” Anthea had the additional temptation to add, “I told you so.” And she resisted it successfully.
“Sacrilege, and impious cheek,” said the captain of the guard to the gaoler. “To be kept during the King’s pleasure. I expect he means to get some pleasure out of them tomorrow! He’ll tickle them up!”
“Poor little kids,” said the gaoler.
“Oh, yes,” said the captain. “I’ve got kids of my own too. But it doesn’t do to let domestic sentiment interfere with one’s public duties. Good night.”
The soldiers tramped heavily off in their white and red and steel and gold. The gaoler, with a bunch of big keys in his hand, stood looking pityingly at the children. He shook his head twice and went out.
“Courage!” said Anthea. “I know it will be all right. It’s only a dream really, you know. It must be! I don’t believe about time being only a something or other of thought. It is a dream, and
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