The Pegasus Symbol in the Childhood Stories of Sinclair Ross

The Pegasus Symbol in the Childhood
Stories of Sinclair Ross
K A R E N BISHOP
It's a l l over a n d it's a l l beginning, there's n o t h i n g more required
of y o u . A p r i l a n d the smell of A p r i l just as it was that day
too . . .
1
J L H E S E A R E D O C H U N T E R ' S final w o r d s i n Sawbones
Memorial,
S i n c l a i r Ross's latest n o v e l , p u b l i s h e d i n 1974. O n a n A p r i l d a y
forty-five years earlier, D o c H u n t e r h a d a r r i v e d i n U p w a r d ,
S a s k a t c h e w a n to p r a c t i c e m e d i c i n e . O n this d a y i n A p r i l , he has
r e t i r e d a n d his son w i l l take his place. It's a l l o v e r and it's a l l
beginning.
T h i s sense of e n d i n g - a n d - b e g i n n i n g is present i n most of S i n c l a i r Ross's short stories a n d novels. T h e endings m a y be devast a t i n g , as i n " T h e L a m p at N o o n , " o r tentatively h o p e f u l , as i n
As For Me and My House, but, i n a l l cases, the possibility of a
n e w b e g i n n i n g results f r o m the e n d i n g of a one-sided experience
of life d o m i n a t e d by either happiness o r suffering, c r e a t i v i t y or
destruction. A w a r e n e s s of r e a l i t y is refocused or e x p a n d e d to
encompass b o t h values, to a c k n o w l e d g e a d u a l i t y i n life. I n his
w o r k , then, Ross is n o t " a f f i r m i n g polarities of g o o d a n d b a d . . .
b u t e x p l o r i n g w h a t is r e a l i n the w o r l d . " I n o r d e r to b e g i n
a g a i n , a r e c o g n i t i o n of b o t h halves of the w h o l e — i n s i g h t i n t o
the i n t e r p l a y of creative a n d destructive elements — is necessary
to u n d e r s t a n d a n d c o m e to terms w i t h life. D o c H u n t e r capsulizes this theme, of " w h a t is r e a l i n the w o r l d , " t o w a r d the c o n c l u s i o n of Sawbones Memorial :
2
T h e G r e a t M o t h e r a n d T h e E v i l M o t h e r , maybe one a n d the
same, creating life only to t u r n a n d destroy it. . . . A s i f the
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potter got his wheel going a n d then c o u l d n ' t stop it — and not
k n o w i n g w h a t to do w i t h a l l the jugs a n d bottles p i l i n g up, no
storage space, no markets, h a d to r i g u p another m a c h i n e to
g r i n d them into dust again,
(p. 130)
A n i n k l i n g of this cycle p r o d u c e s n e w b e g i n n i n g s f r o m e n d ings, because h o p e n e e d never d i e . T h e pots g r o u n d to dust d o
not r e m a i n dust. Instead, they are m o u l d e d a g a i n i n t o b e a u t i f u l
perfect vessels. C r e a t i v i t y a n d d e s t r u c t i o n , b e g i n n i n g s a n d e n d ings are i n e x t r i c a b l y l i n k e d . T h e g r o u p of stories to be discussed
here, " A D a y w i t h Pegasus," " C o r n e t at N i g h t , " " C i r c u s i n
T o w n , " " T h e O u t l a w , " a n d " O n e ' s a H e i f e r , " d e a l w i t h Ross's
most o p t i m i s t i c a n d h o p e f u l e n d i n g s - a n d - b e g i n n i n g s . I n e a c h
story, a c h i l d discovers the d i m e n s i o n of the i m a g i n a t i o n a n d the
one d i m e n s i o n a l u n d e r s t a n d i n g of life a n c h o r e d i n every d a y
reality ends. E a c h c h i l d is a w a k e n e d t o a w o r l d of n e w possibilities a n d experiences — a phase i n the potter's cycle w h e n
creativity dominates a n d the life-sustaining, benevolent side of
the d u a l i t y of life shows itself.
U n t i l q u i t e recently, studies of the w o r k s of S i n c l a i r R o s s h a v e
o v e r l o o k e d s u c h p u r e l y l i t e r a r y aspects of Ross's art to focus o n
his p l a c e a m o n g those writers whose t i m e a n d place is the C a n a d i a n p r a i r i e d u r i n g the D e p r e s s i o n . L a r g e l y because c r i t i c a l
a t t e n t i o n has been centred o n As For Me and My House a n d
The Lamp at Noon and Other Stories, most R o s s c r i t i c i s m is a n
o u t g r o w t h of the i m p r e s s i o n of Ross as p r a i r i e realist, p o r t r a y i n g
the h u m a n suffering a n d e n v i r o n m e n t a l effects of the d u s t b o w l
p r a i r i e e n v i r o n m e n t . A s a result, the role of the p r a i r i e l a n d s c a p e
as it reflects c h a r a c t e r or as i t m o u l d s c h a r a c t e r receives m u c h
emphasis i n this c r i t i c i s m . H o w e v e r , as a t t e n t i o n shifts f r o m
Ross's earliest w o r k to considerations of his t o t a l l i t e r a r y output,
the role of the l a n d s c a p e becomes secondary. M o r e formalist
study of Ross has y i e l d e d patterns of i m a g e , s y m b o l , a n d t h e m e
w h i c h emerge f r o m his novels a n d short stories to i n f o r m the
v i s i o n of reality, w h i c h h a p p e n s to h a v e a p r a i r i e setting b u t also
exists i n d e p e n d e n t of it. Ross's w r i t i n g is a u n i t i n w h i c h he
expresses his u n d e r s t a n d i n g of life as a c y c l i c a l d u a l i t y of endings
a n d beginnings, of c o m b i n a t i o n s of c r e a t i v i t y a n d destruction,
w h i c h m a k e u p the w h o l e of life. A l t h o u g h recent c r i t i c i s m has
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dealt w i t h a r a n g e of symbols, s u c h as the l a m p as s y m b o l of
h o p e , the c o l o u r g o l d as s y m b o l of beauty, the m i r r o r s , false
fronts, a n d the house i n As For Me and My House as symbols of
h y p o c r i s y , n o one has yet u n d e r t a k e n a c o m p l e t e study of the
i m a g e r y a n d s y m b o l i s m a n d h o w they c o n t r i b u t e to the m e a n i n g
of Ross's fiction. O n e i m p o r t a n t aspect of Ross's i m a g e r y is his
use of the horse as s y m b o l of the h o p e f u l creative, i m a g i n a t i v e
h a l f of the d u a l i t y of life.
Horses, i n the w o r k s of S i n c l a i r Ross, are r e c o g n i z e d by recent
critics, s u c h as L o r r a i n e M c M u l l e n a n d R o b e r t C h a m b e r s , as
m o r e t h a n realistic props i n the d u s t b o w l p r a i r i e setting. T h e
horse is a r e c u r r i n g i m a g e i n Ross's w o r k s , a l w a y s " l i n k e d to the
i m a g i n a t i v e l i f e . " T h e sensitive reader is i m m e d i a t e l y a w a r e of
a s p e c i a l r e l a t i o n s h i p between Ross's c h i l d r e n a n d t h e i r horses.
T h i s closeness gives the horses personalities of t h e i r o w n , i n d e p e n d e n t of the c h i l d r e n , so t h a t as n e a r l y separate characters,
they i n i t i a t e experiences w h i c h go b e y o n d the n o r m a l child-horse
r e l a t i o n s h i p . T h e horse, w h i c h is m o r e t h a n a p e r i p h e r a l l i n k to
the i m a g i n a t i o n , becomes the e n s p i r i t i n g essence of the i m a g i n a t i o n . W i t h o u t their horses, the c h i l d r e n are at a loss to discover
the d i m e n s i o n of the i m a g i n a t i o n w h i c h awakens t h e i r d r e a m s of
fulfilment, creativity, a n d happiness for the future b y e n d i n g
t h e i r one-sided v i e w of life.
3
E a c h horse becomes a Pegasus, s o a r i n g above everyday reality
to a light-filled d i m e n s i o n of p e r f e c t i o n a n d beauty. I n G r e e k
m y t h o l o g y , Pegasus, the w h i t e , w i n g e d horse b o r n f r o m the
b l o o d of the b e h e a d e d M e d u s a , created the f o u n t a i n of H i p p o crene, w h i c h was sacred to the M u s e s as the source of poetic
i n s p i r a t i o n . T h e o n l y m a n to r i d e this m a g i c a l horse was Perseus,
w h o c a p t u r e d a n d gently t a m e d h i m w i t h a g o l d e n b r i d l e p r o v i d e d b y A t h e n a . H e successfully r o d e Pegasus to k i l l the C h i m e r a ,
b u t w h e n he p r i d e f u l l y a t e m p t e d to j o i n the gods o n O l y m p u s ,
Pegasus t h r e w h i m b a c k to e a r t h , w h e r e Perseus r e m a i n e d , w h i l e
Pegasus b e c a m e the t h u n d e r a n d l i g h t n i n g bearer of Zeus.
A s for Perseus, the Pegasus propels Ross's c h i l d r e n i n t o flights
of the i m a g i n a t i o n , i n w h i c h they soar a b o v e e a r t h l y reality.
Specific elements associated w i t h the d i m e n s i o n of the i m a g i n a t i o n r e c u r i n these stories. E x t r e m e c l a r i t y of v i s i o n is possible i n
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this d i m e n s i o n , beauty a n d l i g h t are p r o m i n e n t sense impressions,
a n d a sense of timelessness is e x p e r i e n c e d . L i k e Perseus, w i t h his.
g o l d e n b r i d l e , the c h i l d r e n t a m e their i m a g i n a t i o n s b y c o m b i n a t i o n w i t h everyday reality, a n d c h a n n e l t h e m i n t o , i n some cases,
specifically artistic c r e a t i o n a n d , i n a l l cases, a n e w awareness or
p e r c e p t i o n of the w o r l d . A l t h o u g h these flights of i m a g i n a t i o n
are m o m e n t a r y a n d these c h i l d r e n c o u l d , l i k e Perseus, be t h r o w n
b a c k to e a r t h forever, a l l are a w a r e of h a v i n g seen a n otherw o r l d l y d i m e n s i o n , of h a v i n g h a d a " g l i m p s e of the u n k n o w n , "
t h a t is, a g l i m p s e of the possibilities or o p p o r t u n i t i e s of life.
4
A Day with Pegasus, p u b l i s h e d i n 1938, Ross's second p u b lished w o r k , is the p r o t o y p e for his use of the horse as s y m b o l of
the spirit of i m a g i n a t i o n , s y m b o l of the c r e a t i v e h a l f of the
d u a l i t y . W i t h the b i r t h of his l o n g - a w a i t e d colt, Peter P a r k e r
discovers the t a n g i b i l i t y of d r e a m s :
It was a strange, almost unbearable moment. T h e horse that
for five months h a d served the extravagances of his i m a g i n a t i o n ,
that he h a d lived w i t h , gloried i n , a n d underneath it a l l , never
quite expected to come true — it was a reality n o w — alive,
w a r m a n d breathing — two white stockings and a star.
5
Because this i n c r e d i b l e d r e a m has c o m e true, Peter is t r a n s p o r t e d
b y degrees i n t o a w o r l d of p u r e i m a g i n a t i o n , w h e r e a n y t h i n g is
possible. T h e n e w b o r n colt q u i c k l y outstrips even Peter's dreams
of its speed :
T h e colt r a n w i t h h i m , more swiftly n o w than it h a d ever r u n
before. W i t h no earth beneath their feet they leaped across the
garden a n d a r o u n d the house — a r o u n d the house a n d across the
garden — then back to stand a m o m e n t eager a n d irresolute
before the stable door.
(p. 143)
S o o n the spirit of the d r e a m possesses h i m , k i n d l i n g his i m a g i n a t i o n further :
H i s colt, g r o w n fleet of limb, possessed a fire a n d beauty that
enslaved h i m now, that he c o u l d not abandon for the blear-eyed
reality i n Biddy's stall,
(pp. 143-44)
Peter's v i s i o n e x p a n d s yet a g a i n . H i s colt becomes the Pegasus
w h i c h carries h i m i n t o the w o r l d of the i m a g i n a t i o n :
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B u t it was a m i l e to school, a n d the reality could not last so
far. T h e white-stockinged legs began to flash more quickly, the
long l i m p neck to arch, the stubby tail to flow. T h e n suddenly as
if by magic he was mounted, a n d the still M a y m o r n i n g sprang
i n w h i s t l i n g w i n d a r o u n d his ears. F i e l d after field reeled up and
fell away. T h e earth resounded thundering, then d i m m e d and
d r o p p e d u n t i l it seemed they cleaved their way through flashing
light. U n t i l at last he stood quite still, i m p a l e d w i t h a k i n d of
wonder-fear that life should yield h i m such divinity, w h i l e the
sun poured blazing, a n d the road stretched white a n d dusty
through the fields of early wheat,
(p. 145)
Peter is n o longer conscious of the m a t e r i a l c o l t ; he rides a
s p i r i t e d , m y s t i c a l horse t h r o u g h the b a r r i e r s e p a r a t i n g e a r t h b o u n d
reality a n d the r e a l m of the i m a g i n a t i o n . L i k e Perseus, he has
been t r a n s p o r t e d i n t o a n e w d i m e n s i o n above earthly reality
w h e r e he sees d i v i n i t y , perfection, a n d p u r i t y .
A l s o l i k e Perseus, Peter's flight is a b r u p t l y g r o u n d e d b y earthb o u n d reality. F i r s t , his f a r m chores break the spell of his
imagination :
It was the colt, the colt he h a d raced w i t h before breakfast
across the garden, that made the feeding of the calves this m o r n i n g such a h u m i l i a t i o n . . . . N i g g e r — Daisy — D o t — as stupid
a n d silly as their names, g u r g l i n g a n d b l o w i n g at h i m u n t i l there
was no colt left at a l l — u n t i l for beginnings again he h a d to
steal back to the stable, a n d pay another visit to the box-stall.
(pp. 144-45)
N e x t , he is r e p r i m a n d e d by M i s s K i n l e y , his teacher, w h e n he
attempts to share his excitement w i t h his friends, b u t her anger
is lost o n h i m . Possessed b y the s p i r i t of his n e w colt, h e is
i n v o l u n t a r i l y p u l l e d out of the classroom r e a l i t y i n t o the d i m e n sion of his earlier flight :
H a m m e r of mortification — of despairing foreknowledge that he
w o u l d never solve the [arithmetic] p r o b l e m — a n d gradually at
last of g a l l o p i n g hooves. . . . T h e r h y t h m persisted, was stronger
even that [sic] the i m p l a c a b i l i t y of M i s s K i n l e y ' s t a p p i n g ruler. . . .
G r a d u a l l y the class-room fell away f r o m h i m . T h e light flashed
golden i n his eyes again. T h e fields sped reeling y o u n g and green.
(p. 146)
A l s o , Peter's friends, firmly r o o t e d i n f a r m reality, are u n t o u c h e d
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by the s p i r i t of the i m a g i n a t i o n e m b o d i e d b y the colt. W h e n
P e t e r m u s t defend
the colt f r o m t h e i r insults, his f a i t h i n its.
t a n g i b l e spirit is strengthened :
T h e colt, now that he h a d actually c h a m p i o n e d it, seemed more
real, more dependable — seemed even reaching out to assure h i m
that the flights o f his i m a g i n a t i o n this m o r n i n g h a d been somet h i n g more than mere fantasy,
(p. 151 )
S u c h incidents c a n n o t p e r m a n e n t l y g r o u n d o r defeat the spirit
s t i m u l a t e d for the first t i m e b y his Pegasus. I n e a c h case, Peter is
r e n e w e d a n d reaffirmed i n his n e w b e g i n n i n g b y the s p i r i t of the
imagination.
Peter's d i l e m m a is, instead, t h a t he is u n a b l e to c o n v e y to
others the t a n g i b i l i t y of the spirit of the i m a g i n a t i o n a n d , at the
same t i m e , this s p i r i t prevents h i m f r o m d e s c e n d i n g c o m p l e t e l y
i n t o reality. H i s short, b u t a c t u a l , f r i e n d s h i p w i t h a c o w b o y
n a m e d S l i m a n d his sensitized i m a g i n a t i o n c o m b i n e i n t o a dayd r e a m over w h i c h he has little c o n t r o l . I m a g i n a t i o n overpowers
reality a n d a n i m p r o b a b l e fantasy results :
S l i m must have another name, a n d fancifully it began to grow
i n Peter's m i n d that some day he m i g h t take horse a n d ride out
seeking h i m again. . . . T h e n o n again a l l four of them — unequal, yet i n total virtue e q u a l l i n g : himself o n the horse that was
to be called whatever Slim's real name was — a n d a great cowboy r i d i n g T o n y ,
(p. 147)
L a t e r , the s p i r i t of the i m a g i n a t i o n w o r k s i n h i m so t h a t he is
consciously able to u n i t e i m a g i n a t i o n a n d reality i n a c o m p o s i t i o n
for M i s s K i n l e y . H e thinks of his colt a n d is a g a i n t r a n s p o r t e d
a b o v e the e a r t h to the d i m e n s i o n of the i m a g i n a t i o n :
[T]here was a moment's stillness r o u n d h i m , clear a n d isolating
like a globe of magic crystal; a n d then suddenly he was w r i t i n g .
A s he h a d never written before. W i t h the glow a n d enthusiasm
of sheer inspiration,
(pp. 151-52)
R a t h e r t h a n r e p r o d u c e the S a t u r d a y w h i c h he considers " a l i m b o
of u n w o r t h y dullness" ( p . 151 ) , " h e t r a n s f o r m e d i t — r e d e e m e d
it w i t h a n inner, p o t e n t i a l reality — rose s u d d e n l y l i k e a master
above the l i m i t a t i o n s of m e r e t i m e a n d distance ( p . 152). N o w
for the first t i m e , Peter reproduces i n a c o n t r o l l e d m a n n e r the
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experiences of his flight a b o v e the earth. H e gives his S a t u r d a y
the freedom of possibility, the i n n e r , p o t e n t i a l reality w h i c h
pushes his experience i n the sheer j o y of b e i n g a l i v e i n t o the
timeless, u n i v e r s a l sphere of perfection.
M i s s K i n l e y , l i k e Peter's friends, d e m a n d s p u r e e a r t h b o u n d
reality. She insists t h a t he w r i t e a c o m p l e t e l y a c c u r a t e a c c o u n t of
h o w he spent his S a t u r d a y a n d destroys the i m a g i n a t i v e one,
filled w i t h possibility, hope for the future, a n d excitement. Peter
is a g a i n t h r o w n to earth i n m i d - f l i g h t . I n confusion a n d frustrat i o n , he a g a i n seeks r e n e w a l f r o m his colt, the e m b o d i m e n t of the
s p i r i t of the i m a g i n a t i o n : " a l l his p r i d e i n a peerless horse h a d
b e c o m e a h u m b l e need to see a g a i n a n d d r a w c o m f o r t f r o m a
w o b b l y - l e g g e d o n e " ( p . 154). H e enters B i d d y ' s stall " i n fearful
h o p e of w h a t a w a i t e d h i m " ( p . 155), b u t the s p i r i t of the
i m a g i n a t i o n is still s t r o n g : " T h e r e w a s the same h u s h , the same
s o l e m n i t y " ( p . 155), w h i c h he has felt o n first d i s c o v e r i n g the
colt. I n a d d i t i o n , as he seeks r e n e w a l f r o m the m a t e r i a l horse, his
d r e a m e x p a n d s once m o r e f r o m b e i n g m e r e l y a c h i l d i s h w i s h for
a fast horse to b e c o m e a d r e a m of u n d e r s t a n d i n g , of seeing a n d
k n o w i n g the mysteries w h i c h life offers.
Peter slips i n t o the h a y loft to interpret the a w a k e n i n g w h i c h
has been i n s p i r e d b y the b i r t h of his colt. I n s t i n c t i v e l y , he senses
t h a t this m o m e n t is the b e g i n n i n g of the f u l f i l m e n t of his o w n
destiny. W i t h the b i r t h of his colt, w h i c h i n s p i r e d the b i r t h of
his i m a g i n a t i o n , Peter was b o r n a n e w : " I t w a s i m p e r a t i v e to be
a l o n e a few minutes, to feel his w a y t h r o u g h a n d b e y o n d this
mystery of b e g i n n i n g " ( p . 155). A s he looks o u t o v e r the p r a i r i e
f r o m the stable loft, Peter is able to describe this n e w awareness :
T h e r e was a state of m i n d , a m o o d , a restfulness, i n w h i c h one
c o u l d s k i m along this curve of prairie floor, a n d gathering
m o m e n t u m from the d o w n w a r d swing, glide up again a n d soar
away from earth. H e succeeded now. Borne by a w h i t e - l i m b e d
steed again, but smoothly, as if their passage were a flight: no
rush of w i n d , no beat of thundering hooves. A n d i n the flight the
mystery was not solved, but gradually absorbed, a mystery still
but intimate, a heartening gleam u p o n the roof of life to let h i m
see its v a u l t a n d spaciousness,
(pp. 155-56)
H e laments the fact t h a t he has o n l y just a w a k e n e d to the p o s s i
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K A R E N
BISHOP
bilities of his future a n d has wasted t i m e , u n l i k e his colt w h i c h is
" [ a ] b l e to go i n t o a n d e x p l o r e a w h o l e n e w w a i t i n g w o r l d . . . . It.
seemed a p i t y t h a t a boy was never b o m t h a t w a y " (p. 156).
A s Peter's awareness of the p o w e r of the i m a g i n a t i o n grows
a n d he gains c o n t r o l over its influence, he becomes a n artist
u n i t i n g reality a n d i m a g i n a t i o n i n a n e w w a y of p e r c e i v i n g the
w o r l d a r o u n d h i m . T h i s is Peter's b e g i n n i n g , his first experience
w i t h the side of the d u a l i t y of life w h i c h he h a d not k n o w n
existed, a n d the first step t o w a r d the m a t u r e v i s i o n of the w h o l e
of the potter's cycle. T h e earthly horse acts as a M u s e , the spirit
i n its purest f o r m , to i n s p i r e i n Peter r e c o g n i t i o n of a n i n n e r ,
p o t e n t i a l reality, a n awareness of the numberless possibilities life
holds. S i n c e the colt l i v e d u p to his expectations, the spirit of the
i m a g i n a t i o n suggests t h a t his hopes for the future are also possible. H o w e v e r , Peter's awareness advances one step further to
m a k e h i m a n artist a n d b r i n g h i m closer to a f f i r m i n g the d u a l i t y .
H e still has n o experience w i t h the soul-destroying side of d a r k ness w h i c h dominates i n the stories a b o u t the d u s t b o w l p r a i r i e .
W h i l e Pegasus transports the boy i n t o a d i m e n s i o n of crystal
c l a r i t y , l i g h t , d i v i n i t y , a n d beauty, he does, t h r o u g h the story of
his S a t u r d a y , unite this creative side of life w i t h its opposite,
dreary, o r d i n a r y reality.
W h i l e Peter P a r k e r has his k n o w l e d g e of the two-sidedness of
life e x p a n d e d b y the Pegasus s p i r i t at the b i r t h of his colt, some
c h i l d r e n are i n s p i r e d to b e g i n seeking life's possibilities by other
manifestations of the same spirit. T h e e a r t h l y m a n i f e s t a t i o n of
Peter's flight to the d i m e n s i o n of the i m a g i n a t i o n was his i n s p i r e d
story a b o u t his a d v e n t u r o u s S a t u r d a y . S i m i l a r l y , m u s i c , the e a r t h l y
m a n i f e s t a t i o n of a n o t h e r artist's flight i n the creative d i m e n s i o n ,
is the e n s p i r i t i n g force w h i c h begins T o m m y D i c k s o n ' s n e w
awareness o f the d u a l i t y of life i n " C o r n e t at N i g h t . "
I n this story, the m u s i c a l c o m p o s i t i o n , Sons of Liberty,
is
T o m m y ' s c o u n t e r p a r t to Peter's c o w b o y a d v e n t u r e d a y d r e a m .
T h e Pegasus spirit of this m u s i c , u n f o r t u n a t e l y , is not u n d e r
Tommy's control:
T h e r e was a fine swing a n d vigor i n this piece, but it was h a r d .
H a r d because it was so alive, so full of y o u t h a n d head-high
r h y t h m . It was a m a r c h , a n d it d i d m a r c h . I c o u l d n ' t take time
T H E
PEGASUS
S Y M B O L
75
to practise the h a r d spots slowly till I got t h e m right, for I h a d
to m a r c h too. I h a d to let m y fingers sometimes miss a note or
strike one w r o n g . A g a i n a n d again this afternoon I started carefully, resolving to count right through, the way M i s s Wiggins d i d ,
a n d as often I sprang ahead to lead m y m a r c h a m o m e n t or two
all dash a n d fire, a n d then fall s t u m b l i n g i n the bitter dust of
dissonance.
6
U n l i k e Peter, T o m m y c a n n o t c o n t r o l the Pegasus spirit, a n d
rather t h a n o p e n to h i m a n e w p e r c e p t i o n o f life, s u c h i n s p i r a t i o n
is frustrating a n d confusing. I n a d d i t i o n , he does not confront
life w i t h Peter's v i g o u r , l i k e a n a d v e n t u r o u s Perseus. F o r e x a m p l e ,
i n a d e p a r t u r e f r o m the u s u a l f a r m r o u t i n e , T o m m y ' s father
sends h i m to t o w n to h i r e a h a n d for the harvest. C a u t i o u s of
h o p i n g for too m u c h , T o m m y w i l l not s u b m i t himself entirely to
the sheer j o y of this n e w o p p o r t u n i t y :
F o r w h i l e it was always m y way to exploit the future, I liked
to do it rationally, w i t h i n the limits of the sane a n d probable.
O n m y way to the cows I w a n t e d to live the trip to town
tomorrow m a n y times, w i t h variations, but only o n the explicit
understanding that tomorrow there was to be a trip to t o w n . I
have always been tethered to reality, always compelled by an
unfortunate k i n d of probity i n m y nature to prefer a barefaced
disappointment to the l u x u r y of a future I have no just claims
upon.
(p. 38)
T h e s p i r i t of Pegasus, the l u x u r y of a future, is a d i s r u p t i v e force
i n T o m m y ' s life. H e is not a d r e a m e r o n the possibilities of life,
e v e n t h o u g h he has been t o u c h e d b y the s p i r i t of the i m a g i n a t i o n
t h r o u g h his m u s i c .
S i g n i f i c a n t l y , T o m m y is sent to t o w n i n the care of a n o l d
f a r m horse n a m e d R o c k , w h i c h is o u t w a r d l y not of the race of
Pegasus. H o w e v e r , w i t h R o c k , T o m m y k n o w s the feeling of c o n t r o l , confidence, a n d s u p e r i o r i t y t h a t a horse, a Pegasus, inspires.
L i k e Peter P a r k e r r i d i n g his d r e a m horse o n S a t u r d a y rodeo
adventures, T o m m y a n d R o c k together are a m a t c h for the
w o r l d , a n d T o m m y , u n d e r R o c k ' s i n f l u e n c e , is a w a k e n e d to his
o w n capabilities a n d potential :
A l o n e w i t h himself a n d his horse he [a boy] cuts a fine figure. H e
is the measure of the universe. H e foresees a great m a n y encounters w i t h life, and i n them a l l acquits himself a little more
76
K A R E N
BISHOP
than creditably. H e is fearless, resourceful, a bit of a brag. H i s
horse never contradicts,
(p. 40)
T h e r e f o r e , even stolid R o c k belongs to the s p i r i t of the i m a g i n a t i o n for h e l p i n g T o m m y experience, i f o n l y m o m e n t a r i l y , h o w his
life c o u l d be.
N a t u r a l l y , u n d e r R o c k ' s influence, T o m m y is attracted to a
m a n whose presence p r o c l a i m s t h a t he is the measure of the
universe. A l t h o u g h the m a n is o b v i o u s l y not the f a r m h a n d his
father needs to h e l p w i t h the harvest, he is " s t r o n g w i t h a strength
t h a t was different f r o m the r u g g e d l a b o u r - s t r e n g t h I k n e w " ( p .
4 2 ) . D r a w n b y this i n n e r strength, w h i c h he does not possess,
T o m m y hires P h i l i p C o l e m a n k n o w i n g he is u n a c c e p t a b l e for
harvest w o r k . H e is suitable, h o w e v e r , for T o m m y ' s purpose. H e
corrects T o m m y ' s i m p r e s s i o n t h a t b y s u b d u i n g his flights of feeli n g , i n s p i r e d by his m u s i c , b y "keep[ing] s l o w a n d steady l i k e
M i s s W i g g i n s " ( p p . 45-46) w h e n he plays, he w o u l d be less
frustrated a n d p e r p l e x e d . P h i l i p disagrees. W h a t T o m m y needs
to d o is l e a r n to c o n t r o l his i m a g i n a t i o n .
T o illustrate his p o i n t , P h i l i p plays his cornet. " [ O J n l y one
f r a g m e n t of a n o t e " f r o m the cornet " l i k e p u r e a n d m e l l o w g o l d "
( p . 46) is necessary to t r a n s f o r m the p l o d d i n g R o c k i n t o a
s p i r i t e d Pegasus. A t the briefest s o u n d f r o m the cornet, R o c k
leaves the r o a d , c a r r y i n g the w a g o n o n a j o l t i n g g a l l o p across
the o p e n p r a i r i e . A l t h o u g h his flight never becomes a i r b o r n e ,
R o c k responds to the s p i r i t of the i m a g i n a t i o n a n d breaks out of
r o u t i n e reality. F o r T o m m y , too, the stranger's cornet is the
agent of the i m a g i n a t i v e s p i r i t w h i c h lifts h i m o u t of e a r t h l y
reality, the notes flying a n d s o a r i n g l i k e Pegasus, to e x p a n d his
l i m i t e d u n d e r s t a n d i n g of life for n e w awareness :
A n d I was r i g h t : w h e n they came the notes were piercing,
golden as the cornet itself, and they gave life expanse that it h a d
never k n o w n before. T h e y floated up against the night, a n d each
for a moment h u n g there clear a n d visible. Sometimes they
m o u n t e d poignant a n d sheer. Sometimes they soared a n d then,
like a b i r d alighting, fell a n d brushed earth again,
(p. 49)
T o m m y feels the influence, not o n l y of h a v i n g f o u n d a k i n d r e d
spirit, b u t of the s p i r i t of the i m a g i n a t i o n o r d e r i n g his life a n d
g i v i n g h i m a destiny, a place to b e g i n :
T H E
PEGASUS
77
S Y M B O L
I c o u l d still feel the cornet's presence as i f it were a l i v i n g thing.
Somehow its gold a n d shapeliness persisted, transfiguring the
day, quickening the dusty harvest fields to a gleam a n d lustre
like its o w n . A n d I felt assured, i n v o l v e d . S u d d e n l y there was a
force i n life, a current, a n inevitability, c a r r y i n g me along too.
(P- 47)
T h i s is h o w Peter P a r k e r felt at the e n d of " A D a y w i t h Pegasus."
H e was a w a k e to e x p l o r e a n d k n o w the w o r l d . N o w the a w a k ened artistic spirit i n T o m m y has a purpose. T h e m a r c h P h i l i p
plays, w h i c h is c o n t r o l l e d a n d d i s c i p l i n e d , as Sons of
Liberty
s h o u l d have been, inspires h i m to take a d v a n t a g e of life's possib i l i t i e s : " I t s a i d t h a t life was w o r t h the l i v i n g a n d b r i g h t as
m o r n i n g shone a h e a d to s h o w the w a y " ( p . 4 9 ) .
H o w e v e r , T o m m y ' s b e g i n n i n g is not as assured as Peter's is.
L i f e o n a f a r m dictates t h a t artistry l i k e P h i l i p ' s is insignificant.
H e m e r e l y delays the harvest a n d leaves a bittersweet m e m o r y of
his short i n t r u s i o n : " A harvest, h o w e v e r l e a n , is c e r t a i n every
y e a r : b u t a cornet at n i g h t is g o l d e n o n l y o n c e " ( p . 51). T h i s
c o n c l u s i o n is a m b i v a l e n t , a n d Ross's revisions of this story i n d i cate t h a t he m e a n t it to be so. A s M c M u l l e n c o m m e n t s , " R o s s
e l i m i n a t e d the lines w h i c h specifically i n d i c a t e t h a t T o m m y n o w
sees he too m u s t be a m u s i c i a n — o r at least a n a r t i s t . " Ross has
n o successful artists i n his w o r k , o n l y those w h o are b e g i n n i n g to
pursue t h a t d r e a m w i t h "tentative s e l f - k n o w l e d g e . " I n d e e d , after
" A D a y w i t h Pegasus," the potter's cycle of " c r e a t i o n one day,
d e s t r u c t i o n the n e x t , " imposes itself m o r e strongly i n Ross's
fictional
w o r l d , as is evident i n " C o r n e t at N i g h t . " A n i n t i m a t e
k n o w l e d g e of the d i m e n s i o n of the i m a g i n a t i o n is strictly b a l a n c e d w i t h a bitter taste of the d i m e n s i o n of destruction, a m o r e
extreme version of the e v e r y d a y r e a l i t y w h i c h opposed Peter's
flight.
7
8
9
T h e strengthening of the destructive side of the d u a l i t y is
evident i n " C i r c u s i n T o w n , " even t h o u g h the c h i l d , J e n n y , does
h a v e her awareness of life e x p a n d e d b y a flight w i t h Pegasus. A
t o r n poster a d v e r t i s i n g a circus transports J e n n y f r o m the reality
of her b i c k e r i n g parents i n t o a flight of i m a g i n a t i o n .
T h e bit of poster h a d spun a new w o r l d before her, excited
her, given w i l d , soaring impetus to her i m a g i n a t i o n ; and now,
78
K A R E N
BISHOP
w i t h o u t i n the least understanding herself, she w a n t e d the excitement a n d the soaring, even t h o u g h it m i g h t stab a n d rack her,
rather than the barren satisfaction of believing that i n life there
was n o t h i n g better, n o t h i n g more v i v i d or dramatic than her
o w n stableyard.
10
J e n n y ' s awareness of life's possibilities grows o u t of her i n i t i a l
w i s h m e r e l y to p r o l o n g the w o n d e r a n d e x c i t e m e n t of her fantasycircus. U n d e r the i n f l u e n c e of the Pegasus s p i r i t , she sees life
g o i n g i n t w o directions :
T h i s sudden d i l a t i o n of life — it was like a bubble b l o w n vast
a n d fragile. I n time it m i g h t subside, slowly, safely, or it m i g h t
even r e m a i n full-blown, gradually b u i l d i n g up the filmy tissues
to make its vastness durable, but tonight she was afraid. A f r a i d
that before the hack of her mother's voice i t m i g h t burst and
crumble,
(p. 71 )
T o prevent the b u b b l e of this b e g i n n i n g awareness f r o m bursti n g , she retreats f r o m the w o r l d to r e m a i n u n t o u c h e d by reality
i n h e r i m a g i n a t i v e reverie :
[F]or once the threats of w h a t w o u l d happen next time failed to
touch her. T h e circus went o n . A l l night l o n g she wore her new
purple tights a n d went r i d i n g B i l l i e r o u n d a n d r o u n d the pasture
i n them.
(p. 73)
W h i l e J e n n y ' s d r e a m - c i r c u s seems unforgettable, i t also appears
to be o n l y a m o m e n t a r y escape f r o m the b i c k e r i n g a n d u n h a p p i ness of her f a m i l y life, r a t h e r t h a n a p e r m a n e n t b e g i n n i n g l e a d i n g to fulfilment outside the f a r m . L i k e T o m m y D i c k s o n , J e n n y ' s
insight i n t o the possibilities of life is n o t as c o m p l e t e as the
awareness of Peter P a r k e r , perhaps because of the e n c r o a c h m e n t
of the destructive d i m e n s i o n of the d u a l i t y .
J e n n y a n d T o m m y D i c k s o n w a n d e r i n t h e i r imagination-states,
e n j o y i n g the f r e e d o m a n d e m o t i o n a l intensity, b u t h a v e n o c o n crete goals f o r m u l a t e d f r o m t h e i r flights of i m a g i n a t i o n , n o clear
b e g i n n i n g s i n i t i a t e d . O n l y Peter P a r k e r is able to a r t i c u l a t e w h a t
he has l e a r n e d f r o m his flight w i t h Pegasus. H e is a n artist, able
to synthesize the d i m e n s i o n of e a r t h l y r e a l i t y a n d the d i m e n s i o n
of the i m a g i n a t i o n to e x p l o r e the w o r l d . H o w e v e r , P e t e r M c A l p i n e , i n " T h e O u t l a w , " is thirteen, o l d e r t h a n Peter, T o m m y ,
a n d J e n n y , a n d the first c h i l d to be c o n f r o n t e d w i t h the harsher,
T H E
PEGASUS
S Y M B O L
79
d a r k side of the d u a l i t y w h i c h is d o m i n a n t i n the stories about
adults c o p i n g w i t h the d u s t b o w l p r a i r i e . I n short, Peter M c A l p i n e
is the first c h i l d to experience the p o l a r opposites of the d u a l i t y ,
the extremes of experience w h i c h c o r r e s p o n d to the images i n
the potter's cycle, for the most c o m p l e t e p e r c e p t i o n of life i n
Ross's c h i l d h o o d stories.
Peter M c A l p i n e a n d Isabel a n d Peter P a r k e r a n d his n e w colt
h a v e m u c h i n c o m m o n . B o t h boys r i d e exquisitely b e a u t i f u l a n d
s p i r i t e d horses i n t o the d i m e n s i o n of the i m a g i n a t i o n . T h e i m agery used to describe t h e i r flights connotes a r e a l m of pristine
beauty, crystal c l a r i t y , absolute timelessness, a n d a n a u r a of the
m a g i c a l o r m y s t i c a l . H o w e v e r , the exotic, b l a c k Isabel is m u c h
m o r e c o m p l e x t h a n the p u r e l y s p i r i t u a l w h i t e - l i m b e d creature i n
" A D a y w i t h Pegasus." I n i t i a l l y , she is d e s c r i b e d as " b e a u t i f u l
b u t d a n g e r o u s , " a k i l l e r w h i c h n o one expects the thirteen-yearo l d Peter to ride. S h e is k i n d r e d to the destructive elements of the
prairie evironment:
11
[S]he was a captive, p i n i n g her heart away. W e e k after week she
stamped a n d pawed, nosed the hay out of her manger contemptuously, flung up her head a n d p o u r e d out w i l d , despairing
neighs into the prairie w i n d s a n d blizzards streaming past.
(p. 24)
F o r Peter, she is the c o m p o s i t e of e q u i n e beauty a n d s p i r i t :
She was one horse, a n d she was a l l horses. T h u n d e r i n g battle
chargers, fleet Arabians, u n t a m e d mustangs — sitting beside her
o n her manger I knew a n d rode t h e m a l l . T h e r e was a history i n
her shapely head a n d b u r n i n g eyes. I charged w i t h her at B a l a klava, W a t e r l o o , scoured the deserts of A f r i c a a n d the steppes of
the U k r a i n e . Conquest a n d carnage, trumpets a n d glory — she
understood and carried me t r i u m p h a n t l y ,
(p. 25)
Isabel e m b o d i e s a l l t i m e a n d a l l experience. S h e understands a n d
transmits to Peter the mystery of life, its p o t e n t i a l a n d its d r e a m s :
T o approach her was to be enlarged, transported. She was
coal-black, gleaming, queenly. H e r mane h a d a ripple a n d her
neck a n arch. A n d somehow, softly a n d mysteriously, she was
always b u r n i n g . T h e reflection o n her glossy hide, whether of
winter sunshine or yellow lantern light, seemed the glow of some
fierce, secret passion. T h e r e were moments w h e n I felt the whole
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K A R E N
BISHOP
stable charged w i t h her, as if she were the priestess of her k i n d ,
i n c o m m u n i o n w i t h her diety [sic],
(p. 25)
Isabel glows g o l d e n l i k e P h i l i p ' s cornet, b u t m u c h m o r e sensually.
S h e too has a presence of her o w n , a n e l e c t r i c a l charge, " a force
i n life, a current, a n i n e v i t a b i l i t y . "
12
Isabel's personality, t h e n , adds a n o t h e r d i m e n s i o n to the
i m a g i n a t i v e spirit w h i c h initiates Peter's n e w awareness of life.
Peter must fight the t e m p t a t i o n to ride Isabel because her r e p u t a t i o n is t a i n t e d w i t h e v i l , not just disobedience. I n a scene
w h i c h , as M c M u l l e n suggests, echoes the t e m p t a t i o n of C h r i s t b y
S a t a n , Isabel shows h o w , as co-conspirator, she c o u l d raise h i m
to a respected p o s i t i o n a m o n g his peers :
1 3
A n d then, temptress, she bore me off to the m o u n t a i n top of
m y vanity, and w i t h a l l the w o r l d spread out before m y gaze,
talked guilefully of prestige and a c c l a i m .
O v e r there, three miles away, was the school house. W h a t a
sensation to come g a l l o p i n g up o n her, the notorious outlaw,
instead of jogging along as usual o n bandy-legged o l d Pete. . . .
H o w sweet to w i p e out a l l the i g n o m i n y of m y past, to be deferred to by the older boys, to bask i n M i l l i e ' s smiles of favour.
O v e r there, seven miles away . . . was town. W h e r e fairs were
sometimes held, a n d races r u n . O n such a horse I naturally
would win . . .
(p. 26)
Peter c h i l d i s h l y attempts to keep the b o u n d a r y between g o o d
a n d e v i l s h a r p l y defined, w h i l e Isabel w o u l d b l u r the focus because t r u e awareness of the mystery of life requires experience
w i t h b o t h . A s a result, Peter w i l l be c o n f r o n t e d w i t h a two-sided
reality. Isabel is a k i l l e r , but, because she is so dangerous, she c a n
p r o v i d e the self-respect w h i c h Peter so desires. S h e is a temptress,
c o a x i n g h i m t o w a r d d i s o b e y i n g his parents' o r d e r n o t to ride her,
b u t she also offers k n o w l e d g e of the u n k n o w n . I n d e s c r i b i n g
Isabel as " o n e horse, a n d . . . a l l horses" ( p . 2 5 ) , P e t e r u n w i t t i n g l y acknowledges this d u a l i t y . H e has r i d d e n Isabel i n wars,
situations of life a n d d e a t h , c a r n a g e a n d g l o r y , w h e r e destinies
are d e c i d e d . I n a d d i t i o n , Isabel i n her v e r y essence, b u r n i n g w i t h
sensual d e v o t i o n to her deity, c o m b i n i n g sensuality a n d s p i r i t u a l i t y is not, a c c o r d i n g to W . H . N e w , " a f f i r m i n g polarities of
g o o d a n d b a d , b u t . . . e x p l o r i n g w h a t is r e a l i n the w o r l d . "
1 4
T H E
PEGASUS
S Y M B O L
81
T r u e u n d e r s t a n d i n g of the mystery of life is g a i n e d f r o m k n o w l edge of b o t h g o o d a n d e v i l . S i n c e Isabel represents a l l experience
i n the p o t e n t i a l , i n n e r reality of life, Peter m u s t c o n c l u d e that life
w i l l b r i n g his worst fears as w e l l as his most desired dreams to
f r u i t i o n . B y resisting Isabel, Peter r e m a i n s a c h i l d , resisting a
c o m p l e t e awareness of the t w o - s i d e d mystery of life.
A s the i m a g i n a t i v e spirit, Isabel's m o t i v e for Peter's ride is to
share w i t h h i m the secrets of her deity. A s she has p r o m i s e d , the
a c t u a l r i d e is m o r e spectacular t h a n Peter has ever i m a g i n e d . She
is Pegasus, the flying horse :
She d i d n ' t drop to a trot or w a l k as a n o r d i n a r y horse w o u l d
have done, but instead, w i t h the clean grace a n d precision of a
b i r d alighting o n a b r a n c h , came smoothly to a halt.
(p. 30)
S h e shows h i m beauty he has never seen before, a deeper awareness of the l a n d s c a p e not possible w i t h o u t the influence of the
s p i r i t of the i m a g i n a t i o n :
A n d I too, responsive to her b i d d i n g , was aware as never
before of its austere, unrelenting beauty. T h e r e were the white
fields a n d the blue, metallic sky; the little splashes here and
there of yellow strawstack, l u m i n o u s a n d clear as drops of g u m
on fresh pine l u m b e r ; the scattered farmsteads brave a n d wistful
i n their isolation; the gleam o f the sun a n d snow.
(p. 30)
A l l the elements of Peter P a r k e r ' s d i m e n s i o n of the i m a g i n a t i o n
are here, b u t Isabel adds m o r e . S h e insists Peter see the w o r l d as
it r e a l l y is, t w o - s i d e d :
L o o k , she said firmly, w h i l e it's here before you, so that to the
last detail i t w i l l r e m a i n clear. F o r you, too, some day there may
be stalls a n d halters, a n d it w i l l be a good memory,
(p. 30)
Isabel directs his awareness to the future, b u t just as Peter suspected, not o n l y d o d r e a m s c o m e true, b u t also fears a n d a
harsher reality. S h e heightens this c r u e l , d a r k , f e a r - i n s p i r i n g side
of the mystery o n the r e t u r n r i d e :
She disdained a n d rebelled against her stall, but the way she
w h i p p e d the w i n d a r o u n d m y ears y o u w o u l d have thought she
h a d suddenly conceived a great affection for it. It was a strong
w i n d , fierce a n d c o l d . . . . H e r mane blew back a n d lashed my
82
K A R E N
BISHOP
face. Before the steady blast of w i n d m y forehead felt as if the
bone were wearing t h i n . (p. 30)
Peter manages to stay m o u n t e d w h i l e Isabel gives h i m a taste
of this destructive side of life. H e suffers frozen ears for the
experience. H o w e v e r , m o r e significantly, l i k e p r i d e f u l Perseus
w h o a t t e m p t e d to ride Pegasus to O l y m p u s to p l a c e himself
a m o n g the gods, the m o m e n t Peter t h i n k s he is i n c o n t r o l of this
experience, Isabel throws h i m i n t o a s n o w drift :
B e i n g able to ride an outlaw was not the same t h i n g at a l l as
being accorded the privilege of riding one, a n d for the good of
my soul, i t was h i g h time I appreciated the distinction, (p. 31)
R i d i n g Pegasus is a n o p p o r t u n i t y n o t to be missed o r t a k e n for
g r a n t e d . O t h e r s u c h chances w i l l be a v a i l a b l e to Peter, b u t he
must take responsibility for his actions. A s Pegasus, she n a t u r a l l y
e x p l a i n s this t h r o u g h the m e t a p h o r of h o r s e m a n s h i p :
F r o m the bottom of her heart she hoped I w o u l d n ' t be so u n fortunate another time. So far as she was concerned, however,
she c o u l d make no promises. T h e r e h a d been one fall, she
explained . . . and there m i g h t easily be another. T h e future was
entirely up to me. She c o u l d n ' t be responsible for m y horsemanship,
(p. 31)
W i t h i n this experience, then, Isabel shows Peter b o t h sides of
the mystery of life. B y r i d i n g this two-faceted Pegasus, he accepts
the challenge of a n e w b e g i n n i n g , the c h a l l e n g e to e n c o u n t e r life
as a d u a l i t y of l i g h t a n d d a r k , c r e a t i v i t y a n d destruction, a n d to
d e a l w i t h the phases of the potter's cycle. T h e r e f o r e , Peter has
not, as M c M u l l e n suggests, " m o v e [ d ] f r o m the fantasy w o r l d of
the c h i l d to the r e a l w o r l d of the a d u l t , "
b u t has l i n k e d the
t w o for a n e w awareness of life. Peter M c A l p i n e ' s flights of the
i m a g i n a t i o n w i t h Isabel are not r e p l a c e d b y t a n g i b l e , realistic
dreams of i m p r e s s i n g his friends at s c h o o l , as i f the t a n g i b l e
reality were s u p e r i o r to the i m a g i n a t i v e reality. Isabel shows h i m
the c a l m , perfect beauty of the l a n d s c a p e f r o m a Pegasus p o i n t
1 5
of v i e w a n d qualifies this insight w i t h : " S o m e d a y there m a y be
stalls a n d halters, a n d it w i l l be a g o o d m e m o r y " ( p . 3 0 ) , because
f u l l c o m p l e t e awareness of the mystery of life depends o n k n o w l edge of b o t h sides of the d u a l i t y .
T H E
PEGASUS
83
S Y M B O L
A m u c h m o r e intense m a n i f e s t a t i o n of the destructive d i m e n s i o n of life is e x p e r i e n c e d b y a n u n n a m e d
boy i n "One's
a
H e i f e r . " L i k e Peter, he is thirteen a n d takes a horseback r i d e
w h i c h changes his awareness of life. I n " T h e O u t l a w , " Isabel
r e w a r d s Peter w i t h a g l i m p s e of exquisite b e a u t y w h e n he takes
charge of his o w n life by d o i n g a t h i n g f o r b i d d e n b y parents w h o
t h i n k he is still a c h i l d . T h e b o y i n " O n e ' s a H e i f e r " v o l u n t a r i l y
takes o n the a d u l t d u t y of s e a r c h i n g for lost calves, b u t
rather
t h a n a s c e n d i n g to a lofty v i s i o n of p e r f e c t i o n a n d beauty,
he
descends to a d a r k , hellish atmosphere w h i c h , nevertheless, accords h i m a n e w awareness. B o t h boys are passive p a r t i c i p a n t s i n
this g r o w t h t o w a r d i n s i g h t ; n e i t h e r b o y looks v o l u n t a r i l y at the
u n k n o w n . Peter is forced to a p p r e c i a t e the beauty of the l a n d scape by Isabel, a n d the b o y i n " O n e ' s a H e i f e r " is d r a w n i n v o l u n t a r i l y a n d fearfully to the d a r k mystery i n the b o x s t a l l by
a n u n c o n t r o l l a b l e urge. B o t h forces, l i g h t a n d d a r k , beauty a n d
terror, are e q u a l l y strong as manifestations of the u n k n o w n .
W h i l e the boy's visions e x p a n d i n opposite directions, one
t o w a r d l i g h t a n d the other t o w a r d darkness, the role of the horse
r e m a i n s constant. L i k e Isabel, B i l l i e , a n d Peter P a r k e r ' s colt, T i m
is also associated w i t h the w a r m t h , l i g h t , a n d c l a r i t y o f v i s i o n of
the creative d i m e n s i o n . F o r e x a m p l e , T i m r e l u c t a n t l y leaves the
f a r m y a r d , w h e r e p e r c e p t i o n is clear :
After the storm the drifts lay clear a n d u n b r o k e n to the horizon.
Distant farm-buildings stood out distinct against the prairie as if
the t h i n sharp atmosphere were a m a g n i f y i n g glass.
16
H e n a t u r a l l y becomes disheartened as the c o l d saps the w a r m t h
w h i c h associates h i m w i t h Isabel a n d the c o r n e t as manifestations
of the s p i r i t of the i m a g i n a t i o n : "despite the c o l d his flanks a n d
shoulders soon were s t e a m i n g " ( p . 120). T i m a n d the b o y follow
the calves to " a p o o r , shiftless-looking p l a c e " ( p . 121), w h i c h is
d e v o i d of l i g h t a n d c o m f o r t : " D a r k n e s s was b e g i n n i n g to close
i n , b u t there was n o l i g h t i n the w i n d o w s " ( p . 121). T i m has
c a r r i e d his r i d e r to a place of insight i n t o the d a r k side of the
d u a l i t y , just as Isabel c a r r i e d Peter M c A l p i n e to a n awareness of
the light-filled d i m e n s i o n of the i m a g i n a t i o n .
84
K A R E N
BISHOP
T h i s b o y c a n n o t r e s p o n d to the experiences of this n e w l y
discovered d i m e n s i o n w i t h j o y a n d spontaneity as the o t h e r ,
c h i l d r e n reacted to their flights i n the creative d i m e n s i o n .
V i c k e r s , the m a n w h o lives i n this d a r k , c o l d e n v i r o n m e n t , is
t h r e a t e n i n g . F u r t h e r m o r e , his u n l i t b a r n has a presence w h i c h
seems the essence of darkness a n d e v i l :
B e h i n d the light from his lantern the darkness hovered vast a n d
sinister. It seemed to h o l d its breath, to w a t c h a n d listen. . . . M y
eyes were fixed o n h i m so intently that he seemed to lose substance, to l o o m u p close a moment, then recede. A t last he
disappeared completely, a n d there was only the lantern like a
h a r d hypnotic eye.
(p. 123)
T h i s l o o m i n g a n d r e c e d i n g m o v e m e n t has been e x p e r i e n c e d b y
the c h i l d r e n associated w i t h the b r i g h t side of the mystery as
t h e i r focus o n reality w e a k e n e d o r d i l a t e d a n d they w e r e overc o m e b y the quiet, timeless c l a r i t y of the d i m e n s i o n o f the i m a g i n a t i o n . R a t h e r t h a n a n e x p a n d e d v i s i o n , h o w e v e r , the oppressive,
d a r k presence has focused the boy's awareness o n t o the l a n t e r n , a
y e l l o w g l o w , w h i c h is almost defeated b y the darkness: " I t h e l d
m e . It h e l d m e rooted against m y w i l l " ( p . 123). Peter P a r k e r is
also u n a b l e to shake off his i m a g i n a t i v e v i s i o n , b u t this boy's
g l i m p s e at the u n k n o w n has a sinister q u a l i t y f r o m w h i c h
he
wishes to escape :
I wanted to r u n from the stable, but I w a n t e d even more to see
inside the stall. W a n t i n g to see a n d afraid of seeing,
(p. 123)
T h i s mystery is not carefree a n d p r o l o n g e d w i t h e n t h u s i a s m ; the
b o y w i l l i n g l y escapes w h e n V i c k e r s offers a n excuse to leave the
boxstall u n i n v e s t i g a t e d .
T h e b o y spends the n i g h t w i t h V i c k e r s r a t h e r t h a n
return
h o m e t h r o u g h the darkness w i t h o u t his calves, w h i c h he believes
are l o c k e d i n V i c k e r s ' s stall. H e spends a n uneasy n i g h t . A t first,
he a n d V i c k e r s p l a y checkers a n d V i c k e r s talks a b o u t his f o r m e r
housekeeper. W h e n he does go to b e d , the b o y dozes a n d dreams,
w a k i n g to find V i c k e r s ' s o w l s t a r t i n g at h i m a n d V i c k e r s s t i l l at
the c h e c k e r b o a r d , a p p a r e n t l y i n c o m b a t w i t h a n i n v i s i b l e enemy.
T h e b o y dreams a b o u t r i s i n g a n d g o i n g to look i n the b o x s t a l l :
T H E
PEGASUS
85
S Y M B O L
T h e r e was a bright light suddenly a n d the o w l was sitting over
the door w i t h his yellow eyes like a p a i r of lanterns. T h e calves,
he told me were i n the other stall w i t h the sick colt. I looked a n d
they were there a l l right, but T i m came up a n d said it m i g h t be
better not to start for home till m o r n i n g . . . . I agreed, realizing
n o w i t wasn't the calves I was l o o k i n g for after a l l , a n d that I
still h a d to see inside the stall that was guarded by the o w l .
(P- 30)
r
T h e o w l is V i c k e r s . H i s eyes h a v e seen the secret contents of the
b o x s t a l l a n d he g u a r d s
others
from
such knowledge. I n
the
d r e a m , the b o y realizes that this k n o w l e d g e , n o t the calves, is
w h a t he searches for.
I n the m o r n i n g , despite this d r e a m , the b o y still believes the
calves are h i d d e n i n the b o x s t a l l . W h e n he goes to the b a r n to
get T i m , he uses a nervous horse as a d i v e r s i o n to distract V i c k e r s
l o n g e n o u g h to a t t e m p t to l o o k i n the stall. A s he tries t o o p e n
the d o o r , he comes to realize his desire to see i n s i d e has n o t h i n g
to d o w i t h the calves or V i c k e r s . H i s search is n o w focused o n
k n o w l e d g e of the essence of darkness, the side of the d u a l i t y
w h i c h is u n k n o w n to h i m :
T e r r i f i e d of the stall though, not of V i c k e r s . T e r r i f i e d of the
stall, yet compelled by a frantic need to get inside. F o r the
m o m e n t I h a d forgotten V i c k e r s , forgotten even the danger of
his c a t c h i n g me. I w o r k e d blindly, helplessly, as i f I were confined a n d smothering. F o r a m o m e n t I yielded to panic. . . .
T h e n , collected again, I forced back the lower bolt, a n d p i c k i n g
u p the whiffle-tree tried to p r y the door out a little at the
bottom,
(pp. 132-33)
T h e b o y escapes a n d returns h o m e c o l d , exhausted, a n d e m o t i o n a l l y distraught. T h e calves, he learns, h a d r e t u r n e d shortly
after he h a d set out. T h e b o y is s t u n n e d to silence b y the r e a l i z a t i o n t h a t the secret V i c k e r s g u a r d e d w a s t h a t he h a d m u r d e r e d
his housekeeper a n d h i d d e n her b o d y i n the s t a l l . T h o u g h the b o y
has not a c t u a l l y seen i n t o the stall, he has g l i m p s e d this d a r k
d i v i n i t y of d e a t h t h r o u g h his experiences w i t h V i c k e r s .
T h e other c h i l d r e n , Peter P a r k e r , J e n n y , a n d T o m m y D i c k s o n ,
experience flights to the light-filled i m a g i n a t i v e r e a l m , the o p p o site d i m e n s i o n to the one e x p e r i e n c e d b y this boy. A s w i t h Peter
86
K A R E N
BISHOP
M c A l p i n e , i n " T h e O u t l a w , " w h o f a c e d the destructive d i m e n s i o n b y m a k i n g his o w n d e c i s i o n to r i d e Isabel, the b o y i n " O n e ' s
a H e i f e r , " b y s e a r c h i n g for the calves, also comes i n t o contact
w i t h the p o t e n t i a l l y dangerous side of life. H o w e v e r , for b o t h
boys, the urge to experience b o t h sides of the mystery, the l i g h t
a n d the d a r k , is strong. R a t h e r t h a n g r o w i n c r e a s i n g l y m o r e
frightened the l o n g e r he stays w i t h V i c k e r s , the b o y becomes
m o r e a n d m o r e d e t e r m i n e d to l o o k i n t o the b o x s t a l l . W h e n a n
i n i t i a l l y p r i d e - i n s p i r i n g r i d e becomes the opposite, the d i m e n s i o n
of destruction a n d the d i m e n s i o n of the i m a g i n a t i o n are l i n k e d
i n one experience. T h e b o y becomes d i s t u r b i n g l y a w a r e t h a t a
m a t u r e u n d e r s t a n d i n g of life i n c l u d e s k n o w l e d g e of b o t h l i g h t
and
darkness, that elements
of b o t h sides m a k e u p the
true
essence of life. F o r this c h i l d , as for Ross's other c h i l d characters,
" i t ' s a l l o v e r a n d it's a l l b e g i n n i n g . " A c h i l d i s h one-sided u n d e r s t a n d i n g of life ends a n d a sometimes dangerous, p o t e n t i a l l y disa p p o i n t i n g a n d p a i n f u l w o r l d of n e w possibilities a n d challenge
begins.
NOTES
1
2
Sinclair Ross, Sawbones Memorial
( 1 9 7 4 ; rpt. Toronto: McClelland &
Stewart, 1 9 7 8 ) , p. 143.
W. H . New, "Sinclair Ross's Ambivalent World," Canadian
Literature,
No. 40 (Spring i 9 6 0 ) , p. 28.
3
4
5
6
7
8
9
1 0
1 1
Lorraine McMullen, Sinclair
Ross (Boston: Twayne Publishers, 1979),
P- 9 i Sinclair Ross, "Cornet at Night," The Lamp at Noon and Other
Stories
(Toronto: McClelland & Stewart, 1 9 6 8 ) , p. 4 9 .
Sinclair Ross, "A Day with Pegasus," Queen's Quarterly,
4 5 , 2 (Summer
! 9 3 8 ) , p. 143. Subsequent references to this story appear in parentheses
following the quotation.
Ross, "Cornet at Night," p. 38. Subsequent references to this story appear
in parentheses following the quotation.
McMullen, p. 40.
McMullen, p. 40.
Ross, Sawbones Memorial,
p. 130.
Sinclair Ross, "Circus in Town," The Lamp at Noon and Other
Stories
(Toronto: McClelland & Stewart, 1 9 6 8 ) , p. 24. Subsequent references to
this story appear in parentheses following the quotation.
Sinclair Ross, "The Outlaw,"
The
Lamp
at Noon
and
Other
Stories
T H E
PEGASUS
S Y M B O L
87
(Toronto: McClelland & Stewart, 1 9 6 8 ) , p. 24. Subsequent references to
this story appear in parentheses following the quotation.
1 Ross, "Cornet at Night," p. 47.
2
1 3
1 4
1 5
1 6
McMullen, p. 42.
New, p. 28.
McMullen, p. 43.
Sinclair Ross, "One's a Heifer," The Lamp at Noon and Other
Stories
(Toronto: McClelland & Stewart, 1 9 6 8 ) , p. 119. Subsequent references
to this story appear in parentheses following the quotation.