68 pages • 2 hours read
George MacDonaldA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
When the lady is finally fully manifest, she is still a statue. Disappointed that she is not yet fully alive, Anodos disregards the sign telling him not to touch her. He throws his arms around her and pulls her from the pedestal. She comes to life and tears herself from his arms, crying that he should not have touched her.
Anodos pursues her, but she disappears behind a heavy oak door. A sign warns that no one can enter without the permission of the queen, but Anodos rushes through and finds himself on a barren hillside surrounded by great tombstones. The lady flits by him and disappears behind a stone, and Anodos finds nothing there but a wide hole in the ground like a deep well into which he supposes the Marble Lady to have fallen. He sits down and weeps.
When daylight comes, Anodos sees a natural staircase circling the perimeter of the well. He descends until the stairs end at a horizontal passage. Proceeding along the horizontal path, he emerges into an underground world with a sky of stone and fantastic rock shapes instead of trees and flowers. The underworld is inhabited by malicious kobolds. One of their number sings in its scrannel (harsh, unmelodious) voice the song Anodos used to bring the Marble Lady to life—all the while mocking Anodos’s feelings in “grotesque” parody. When he is done, the kobold horde lays hold of Anodos and taunts him again, telling him he will never have his Marble Lady; she is destined for “a better man than he.”
Stung by their words, Anodos cries that if the other is a better man, then the better man should have her. As Anodos goes on his way, he sings a little song in which he acknowledges that he will weep to lose his love to another, but he gives her up tenderly, wishing for her happiness and honoring the one who is worthy of her. He then sings that one must not vex the lady or grab her too wildly, lest all the joy of having her be lost.
Harsh laughter greets the end of his song, and an old woman comes forth to meet him. She sneers at him that it’s a pity he doesn’t have a pretty girl to walk with him. Anodos replies that it would depend on who the pretty girl was. At that, the old woman blooms into a resplendently beautiful young woman and begs him to stay with her.
Anodos recoils, and the young woman is “ugly” again. Her shrieking laughter follows him as he goes on his way.
Anodos trudges through the underworld, increasingly sure he will never see his Marble Lady again. He feels proud that he is the one who sang her into life, and he feels a kind of possessiveness. He feels sure her outward beauty is a measure of inward loveliness.
Gradually, the way grows narrower, and Anodos emerges on the shore of a wintry sea. All is bare and gray and dreary. As the sun sinks below the horizon, an icy storm blows in. Exhausted by the bleak landscape, Anodos flings himself into the sea. At once, the water enfolds him like the arms of the beech woman and raises him to the surface.
As Anodos floats, he is nudged by a brightly painted little boat. He scrambles into it, and the little boat sweeps him across a gentle summer sea. When Anodos looks into the water, he sees his whole history contained in the sea from childhood to young manhood, including people he had loved and lost, all still present to him. They forgive him every hurt he has ever dealt them, and he falls asleep in a spell of delight.
The boat brings Anodos to a grassy island where stands a cottage. He finds an old woman cooking over a hearth in the center of the room. Anodos has never seen such an old face, but her voice is young and sweet. He feels like a boy who has come in out of a storm. When she brings him a bowl of food, he lays his head against her and cries from happiness.
Anodos falls asleep and wakes feeling refreshed. He sees that the cottage has four doors—the one by which he entered and one in each of the other three walls. The old lady tells him that if he goes through any of the doors, he should look for a certain sign—which she shows him—to find his way back. Anodos opens the door through which he entered the cottage. Stepping through, Anodos sees his two brothers as they were when they were all children. He plays with them until sundown and forgets all about Fairy Land. That night, he quarrels with one of his brothers. The next morning, his brother goes out alone to swim in the river and drowns. Anodos has a sense that this had all happened before. Running from the house, he sees a curious mark on the barn door and returns to the old woman’s cottage.
Beyond the next door, he sees a beautiful lady who resembles the Marble Lady. The unnamed knight enters. His armor is clean and shining now. The knight asks if the lady still loves the youth whose song twice set her free. She answers that she would never have been able to come to the knight if the boy hadn’t freed her. They both love Anodos for making it possible for them to be together.
With an aching heart, Anodos blesses their union. Finding the mark that shows the way back, he falls, sobbing, at the feet of the old woman. She sings him a song about the value of being the giver of love rather than the receiver.
The third door takes Anodos to a crowded street. There, he sees a girl whose heart he broke shortly before entering Fairy Land when he still believed himself to be a man. Unable to face the girl, he steps into a church. A white-clad figure passes him and lies down atop a tomb, where she turns to stone. On another tomb, he finds the effigy of a knight, and, feeling a ring on the stone figure, he recognizes the knight as one of his ancestors; he is in his family burial vault.
He stumbles back into the cottage, and the old woman sings about resurrection, life after death, and the unity of joy and grief. The old woman begs him not to enter the last door, but he cannot resist and goes through.
The next thing he remembers is lying on the floor with his head in the woman’s lap. She is weeping over him as if he were a dead child. When he fully recovers, she points him to an isthmus joining the island to the mainland and tells him to go out and do something worthwhile.
Leaving the island, he crosses a rocky country until he comes to a tower. Inside live two brothers. They have been making weapons and armor. They tell Anodos he will be their third brother and help them fight three giants plaguing the kingdom.
At the advice of a wise woman (the same whom Anodos met in the cottage of the four doors), the two brothers have apprenticed themselves to an armorer and learned his craft. The old woman also promised to send them a third brother and showed them Anodos in a mirror. She instructed them to teach Anodos everything they learned about arms and armory.
Should they die, each of the two brothers fears leaving behind someone they love. While the brothers help Anodos learn armory, he sings for them, often bringing them to tears with songs that touch on their own particular fears. The more often he sings those songs, the stronger the brothers become and the better able to face their fears.
This section features many interactions between Anodos and women and foregrounds the theme of The Realm of the Feminine. In these encounters, Anodos experiences loss and grief, faces the consequences of his selfishnessness, and discovers that he can prioritize the happiness of another over his own. Anodos’s snatching the Marble Lady from her pedestal is the second instance of his touching what he should not. The first is the globe belonging to the maiden, which Anodos touches, causing it to shatter. Before she disappears into the waste, the lady tells Anodos he should have sung to her instead of grabbing impatiently. Symbolically, enlightenment cannot be taken by force, only coaxed and wooed.
Descending into the well is a symbolic descent into the underworld in pursuit of the feminine embodiment of enlightenment. The underworld is a mockery of the living world above with its cold stone instead of living things. Anodos is tested in the underworld and finds an inner nobility—the ability to let go of a treasured thing and recognize that he is less virtuous than he might be. To this point, Anodos has snatched at every pretty thing that crossed his path. To test his new understanding, the “ugly” woman tempts him with youth and beauty, and this time Anodos refrains from trying to seize her.
Anodos rejects the superficial beauty of the old woman in the underworld, knowing her to be “ugly” underneath, yet he measures the virtue and value of the Marble Lady by her outward beauty. The Romantics associate beauty with truth, but Anodos is learning to recognize false beauty when he encounters it. In a quest narrative, a descent into the underworld is rewarded with a token—a sword, a cup, a talisman, or the lost soul of a loved one. Anodos departs only with a new understanding. This is a stage in the Bildungsroman: Anodos is gradually growing up.
The sea is yet another representation of the feminine. Initially, it is cold and forbidding. Anodos surrenders to it, accepting death rather than enduring the bleakness and the cold any longer. Instead of death, he finds the feminine bearing him up, rocking him, and supplying him with help for the next step of his journey. When he surrenders to his fear, Anodos finds succor instead. This is a baptism in which he is forgiven past sins—some of which he will see when he passes through the cottage doors. The baptism doesn’t render him perfect or worthy of his lady. He has trials to go through before he reaches enlightenment, but he has taken a step toward a commitment to the quest.
Leaving the water, he comes to another mother figure. This time, rather than coming as a fool who has betrayed himself as he did with the Alder woman, Anodos comes as an innocent, reborn after his baptism and beginning his life anew.
Each of the doors in the cottage foreshadows something yet to come in the story. Anodos’s brother’s death foreshadows his later meeting with the two brothers and their deaths. Anodos never speaks of his second brother when he arrives home at the end of the story, so his brothers in the ordinary world would seem to have died. The two brothers offer Anodos an opportunity to rebuild and resolve his feelings about losing them. The three brothers have the chance to grow to manhood together before Anodos loses them again.
When Anodos overhears the lady say that she couldn’t have loved the knight if she hadn’t loved the boy, this is another association of the knight as an older version of Anodos. This vision foreshadows Anodos surrendering himself to the knight, recognizing him as the better man. Incidentally, the scene in the crypt implies that the knight and lady are Anodos’s ancestors.
Anodos’s near encounter with the girl whose heart he broke refers back to the girl with the singing globe, which Anodos carelessly shattered. The guilt of his treatment of the girl is one of the burdens Anodos must resolve in his later encounter with the woman who sings him free of his tower prison.
The old woman in the cottage tells the two brothers that tears are the only cure for weeping. Each time Anodos sings for the two brothers, the brothers weep less. Passing through their fears and fully embracing them enables the brothers to endure their fear and put it aside so that it doesn’t stop them from completing their task. Anodos’s ability to create songs is a gift he can use to heal and break spells like the one that imprisons the Marble Lady (twice). That creative power is a spark of God’s power of creation.
By George MacDonald