The Talkative Wig — Story, Setting & Ideas
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There was one family in which she worked where the master and mistress insisted that at one o'clock Jane should lay aside her work, and walk till two, when they dined. Then they insisted upon her dining at their own table, and tried to make her meal a social and pleasant one.
O, these were white days for poor Jane. Could I not tell when she was going to work in this family by the way she threw me over her shoulders? Did I not feel her gentle heart beating with unwonted warmth as she came home from this family before eight o'clock, accompanied by the truly good man of the house or some trusty person? When she hung me up in her small bed room, did I not notice her grateful, happy smile? She felt that she was recognized by these good people as a sister and friend, and that the words which we hear at church and read in the Bible, "All men are brethren," were not mere words with them.
These evenings she would make her small fire, and sometimes indulge herself in reading a little while; she would go to bed early, and did not look so pale in the morning.
Had all the customers of cousin Jane been as kind and considerate as these good people were, she might have lived; and I should, perhaps, have continued in her possession; but life was too hard for her,--she struggled with it for many years, and then her sweet spirit turned wearily away from it; she grew weaker and weaker, the color grew brighter and brighter on her cheek, and the light in her eye; she looked like a spirit; and, ere long, she was one.
My first owner came, as soon as she heard how ill Jane was, and took her home to this house in the country. Here our good mistress nursed her poor cousin, and made the last days as happy as she could; but Jane was weary of this life, and longed for a better one. She passed away as gently and sweetly as a summer evening cloud or a dying flower.
Our mistress said to her husband, "All Jane's clothes, except this dear cloak, I have given to the poor. This I must keep myself; for it was one of my wedding garments, and dear Jane has made it all the dearer to me. I shall keep it to lend to friends who are caught here in the rain; it shall be called the friend's cloak, and shall always be kept in the closet in the hall, close at hand."
Now, I suppose every one knows of how much use such a cloak is in a family. Never was a cloak more employed than I, and for all sorts of things. I was used to play dumb orator. I was at every one's service. I don't know how they ever did without me.
Don't be astonished that I did not wear out; my lining was strong, and I tell you an old cloak has a charmed life; you cannot wear it out; like charity, it suffereth long and is kind.
As my dear mistress's children grew up, I was treated very much as you all have been; that is to say, with no respect at all. What a different life was mine from that which I led with dear, gentle cousin Jane. Peace be with her sweet spirit!
One prank which the boys played some years after Jane's death, I must relate, and then I have done. The eldest, whose name was Willie, took me, the evening before thanksgiving day, and, having dressed himself up in some of the cook's dirty old clothes, and hung a basket on his arm, put me over his shoulders, and I went begging of all the neighbors for something to keep thanksgiving with. He disguised his voice by putting cotton wool in his mouth, and I wonder myself how I came to know him. Two or three boys of his acquaintance went with him, all dressed as beggars; and a grand frolic they had.
They went to one house where a man lived that made great pretensions to religion and goodness, but who the boys strongly suspected was not very compassionate to the poor.
"Please," said Willie, "give us a little flour and raisins for our mother to make a thanksgiving pudding with to-morrow." His answer was a slam of the door in his face.
"Let us go to Granny Horton's," said one of the boys; "she has not gone to bed yet."
"O," said Willie, "you know she has nothing but what mother sends her, or some of the neighbors. It would be a shame. I carried her a pair of chickens this morning, and some flour and raisins; and it is a shame to beg of her, she is so kind. But won't it be funny if she gives us something, when Squire Marsh would not; at any rate, she'll not slam the door in our faces. Come, let's go quickly, before she puts out her little light and goes to bed. I bet she'll give us one of her chickens. But let us take whatever she gives us, just for the fun, and for fear we should be found out."
Willie was to be the spokesman. He felt rather queerly at first; but the fun of the thing was too tempting, so he agreed to speak. He was dressed as a girl, and wrapped me closely about him, as if he was very cold. He had on an old straw bonnet, and his face was painted, so that she could not recognize him, he knew.
They knocked at Granny Horton's door, and she, in a kind, gentle voice, replied, "Come in!" Willie, pretending to be a girl, told how she and her brother and sister had come from the farther part of the town, where they lived in the woods with a mother who was very old, and had hardly any thing to eat; and how they wanted something good to carry to her for thanksgiving day--a little flour, or a chicken, or any thing; that it was too hard for his dear mother to have nothing but beans on that day; that beans were what they lived on commonly.
He looked so mournful, and spoke in such a mournful tone that the dear old woman, after thinking one moment, said to him, "I have two chickens, a quart of flour, and two pounds of raisins, sent to me by a good lady this morning, and brought to me by a real good little boy called Willie. I can't ask their leave, but I guess they would not scold me for giving your mother half of what he brought me; so you shall have it, dear. 'It's more blessed to give than to receive.' 'The Lord gave and the Lord taketh away. Blessed be His name.'"
While she was saying over these blessed words, she was busy dividing the flour and the raisins, and putting them and the chicken into the basket which Willie gave her.
They all thanked the old woman very kindly, and went off with her flour and chicken.
"What shall we do with it all?" said they, as soon as they were out of the house.
"Let us," said Willie, "beg all we can every where, and get our basket full, and carry it back to her, and, when she is asleep, get into her house again, and put it on her hearth. I know how to open the window on the outside when she thinks it fast."
This was a good joke for the boys; so they went from house to house, and, except at the squire's and one other place, got something from every one, till, at last, their basket was full. Then they went home, and got a peck of apples from their mother.
Willie then led the way to Granny Horton's again. They looked in at the window, and, by the light of the few embers still burning, saw the good woman asleep in her great, old-fashioned chair, with her spectacles on, and by her side a little stand on which lay her Bible open at the place where she had been reading.
"I can get in," said Willie, "and put the basket down by her side before she wakes."
Accordingly, he went to a little window in the back part of the house, climbed in, came softly into the room where she was, and set the baskets, all running over with good things, down on the hearth. Willie had hardly got back to the window, when the good woman waked up; and there, directly before her eyes, stood the baskets. She took them up, and looked at them for some minutes before she took any thing out. At last, she began to examine their contents. When she came to her chicken and flour and raisins, in the very papers in which she had wrapped them; she looked up and clasped her hands with such astonishment, with such a look of wonder and gratitude, that the boys, in their glee, laughed outright, and so loud that she heard them.
She ran to the window, but they were gone; and she never knew how it was that her chicken and flour brought her back seven fold.
When next the cook went to see her, with me on,--I was every body's cloak,--the old lady told her the whole story of finding the chicken and flour, and so many other good things with them. The secret was kept; and it was Granny Horton's firm faith that it was the wings of angels she heard when she went to the window. Indeed she thought she had seen the wings, for as Willie turned to run, he forgot to hold me tight, and the wind blew me up so as to hide him entirely, and she took me for great dark wings.
I fear you may be weary of my story. I have much more that I could relate, but I have already been too long.
I am, as you see, ragged and worn, but the dear family have an affection for me still, as well as for all the rest of us; and so I am allowed to remain here in this most respectable company. I trust the wig will now give us his history for which we have waited so long."
"There is time enough before eight o'clock for the story of the wig," said Frank, "if you can remember it, Mother. He ought to tell his story now, as he promised."
"As the wig began to speak," said their mother, "he gave a slight hitch on one side, just as if some one pushed him up a little, and then, after a short pause, began thus: "You will be astonished, perhaps, to know that it is more than a hundred years since I first saw the light. None of you have lived so long, or seen as much as I have. I cannot tell all I have seen or known. It would take too long, and weary you too much. I can only give a slight sketch of my long life.
In the year seventeen hundred and fifty, the baby head upon which I grew came into this strange world in which we live. O, how happy was the mother who saw me for the first time! How full was her joy when she stroked the small head of her little girl, and exclaimed, "How beautiful and soft her hair is! softer than velvet or satin." Even then, every one said, "What a beautiful head of hair! What a lovely baby!"
The little girl whose head I adorned was the daughter of a poor vicar who lived with his wife in an obscure country town in England.
Alice was their fifth child, but their only daughter. She was very beautiful, and, I may say it surely without vanity now, I was her greatest ornament. I was of a beautiful auburn color, and fell in thick clusters all over her happy, gentle head, and shaded her laughter-loving face. After a day of hard work, how fond her mother was of taking her little pet in her lap, and twisting up every curl in nice order under her white linen night-cap, before putting her to bed! Her father, too, would wind my ringlets around his great fingers, made hard and rough with toil in the garden, and would kiss every one of them, and pray God to bless the young head on which they grew.
As the dear head grew larger, I grew larger and thicker. Every one who saw me noticed me. One would say, "It looks like a pot of hyacinths"; another, "It has caught the sunshine and kept it."
What a pleasant life I led! When Alice grew a large girl, she became something of a romp, and one of her favorite amusements was to go to the top of a hill near her father's house, when there was a high wind, and let it blow through her curls, and sing and shout and dance from the fulness of her joy. When she came home, she would say "Mother, the wind has been combing my hair."
O the horrid combing that I had to endure every morning! One must be a head of curly hair to know how terrible is a comb.
If you will not think me too long, I must talk a little more about the dear Alice, and tell you what I witnessed till I was separated from her."
"Go ahead," said the old musket.
"I must tell you how her sweetness and goodness once saved the house from robbery. It was the custom of her father and mother, on Sunday, to lock up the house, while they went to church. A pot of pork and beans, and a pudding of Indian meal was put in the oven to bake for their dinner.
One Sunday, as Alice had a heavy cold, they left her at home. She was then fourteen years old, and felt herself quite equal to taking charge of the house.
It was generally known that the curate's house was locked up on Sunday; and a poor, foolish, as well as wicked fellow, determined to take that opportunity to help himself to the good curate's silver, or any other valuable, he could find in the house. It happened that the man took the Sunday when Alice was left at home for his wicked purpose.
When he came to the door which he intended to break open, he was admitted by Alice, who saw him coming. She asked him to come in and sit down, then inquired if he had travelled far, and set before him some bread and butter and cold water.
"My father is a minister," she said, "and always asks travellers to stay. We have some dinner in the oven, and we shall all of us like to have you stay and dine. You look pale and tired; you had better stay."
These words Alice said with such a sweet, confiding earnestness, that the wicked purpose died away from the heart of the intended thief. He felt as if he was in the presence of an angel. He looked at her in wonder. All the evil in him seemed to depart.
"You are very good," he said. "Do you take care of the house all alone by yourself?"
"O yes," she replied; "it does not take much trouble. There is no one to harm us. Would you like a book to read till papa and mamma come home; here is my Testament; or would you like I should read to you?"
"Read to me," said the man.
As Alice read from the history of Jesus, the tears ran down the robber's cheeks; he said nothing.
When the curate came home, he repeated Alice's invitation to dine. The man accepted it. After dinner, when he thanked Alice and her father for their kindness to him, he said to the curate, "Your daughter is an angel, and has saved me from sin. I go away a better man than I came."
He then confessed the evil intentions with which he had entered the house, told how Alice's trusting, gentle kindness had disarmed him, and promised the curate that he would henceforward be a better man.
I do not mean to say that Alice never did any wrong thing. She was, however, so sorry for a fault, she repented so soon, and then did all she could to repair it, that no one could help forgiving her. She had a trick of squinting now and then. Her mother thought that my curls perplexed the bright eyes under them; and, to prevent the evil, drew up all the pretty locks in a bunch, tied them together, and said, "Now, Alice, your hair is all out of the way, and you will not squint."
Alice was annoyed by this; she was a little vain of my beauty, and the disregard of her looks, which she thought these words indicated, fretted her.
Her father saw this, and, to make the tying less disagreeable, said to her, one day, "Alice, I see you don't like to have your hair tied up; you don't think it reasonable. Come now, bear it patiently for a month; and, at the end of that time, I will give you the little work box I am ornamenting with straw."
Alice agreed, and promised to be patient, and to keep her hair tied up.
During the month, it happened that Alice was invited to a little party of girls at her aunt's.
Alice hoped that her father and mother would absolve her from the promise, that afternoon; but no, her mother only tied up her hair with a new ribbon for the occasion. I, with all my beautiful curls, was drawn away from her dear face as far as possible. Alice found this hard to bear.
As she was on the way to the party, she could hardly keep from crying.
"What is the matter?" said her father.
"Nothing, father," said Alice, "only a little headache; mother has tied my hair too tight."
"Loosen it," said her father.
Alice did loosen it, so that the string was just ready to come off.
When she arrived at her aunt's, where her father left her, I was just escaping from my hateful confinement, and her aunt took hold of the hair as the string fell on the floor.
"Shall I tie it on again, Alice, or shall your pretty hair go just so? I don't see the use of tying it, but, if you really wish it, my dear, just step up stairs, and Jane will do it for you very nicely. Perhaps your mother would choose it to be tied; she is very particular. It is a pity to confine such beautiful curls, but, if it must be so, we can't help it. Will you go up stairs? Here is the string; it dropped on the floor."
"No," said Alice, "it is of no consequence;" and she put the string into her pocket.
Again I fell upon her beautiful forehead, and kissed her rosy cheeks; and every one admired my beauty.
Alice tried to forget that she was breaking her promise, and enjoyed herself pretty well.
When she went home, her mother said, "Why, Alice, your hair is all over your face; how comes that?"
"The string was nearly off when I went in, and then it fell on the floor, and aunt said I looked better without it. Here is the string, which she picked up."
"I should have thought your aunt would have let you go up to Jane, and have it tied properly; you should have asked her leave."
"I suppose," said the father, "that Alice felt too shy. It is no matter for one day. Alice, I dare say, kept her promise as well as she could; and, next week, she shall have her box; a right pretty one it is."
Alice kissed her father and mother, and went to bed; but there was a little cloud between her and the all-pure Being to whom she prayed that night, and her precious tears wetted my locks, ere she went to sleep.
Eliza Lee Follen's The Talkative Wig (1840) opens not with the wig but with a rainy Sunday and a girl reading Pilgrim's Progress in an old garret. The frame narrative quickly gives way to a chorus of animated objects—curling tongs, a coat, a spinning wheel—each demanding the wig fulfill its promise to relate its own history. The wig stalls, insisting two other objects speak first, a deferral that establishes the story's central tension: the wig is both a reluctant narrator and a commodity whose value depends on whose head it adorns.
The Wig's Reluctant Voice
The wig speaks only after being pressed by the curling tongs, called “Friend Frizzle,” who reminds the assembly of the wig's broken promise. The wig's reply—“I did agree to relate my adventures, but I said I would wait till all had told their stories”—reveals a character who uses procedural delay to avoid exposure. This verbal evasion mirrors the wig's physical nature: a constructed object that can be reshaped, boiled, or sold. Follen gives the wig a voice that is both petulant and strategic, hinting at a history it would rather not recount.
The Coat's Class Anxieties
The coat, by contrast, speaks with pride and class consciousness. It boasts of its “delicate white” fabric and its role in making a major of cadets, claiming “I think I did more to make the major than my Lord Sword did.” The coat's monologue reveals a hierarchy among objects: it looks down on the baize gown and insists on its own refinement. Follen uses the coat's voice to satirize social pretension, as the coat measures worth by its former human wearer's rank. The coat's self-importance is undercut by its current dusty state in the garret, a detail that quietly mocks its claims.
Alice's Hair and Maternal Sacrifice
The most affecting passage belongs to the wig's origin: the hair of Alice, a poor widow who cuts off her long locks to buy school supplies for her son William. The narrative lingers on the act: “Alice took her scissors, and cut off lock after lock, till all were gone, save a few which she left around her forehead.” The son weeps, valuing the hair “more than all learning.” Follen renders the sacrifice through sensory details—the blue ribbon, the muslin cap, the child's tears—without moralizing. The hair, once alive with the beatings of Alice's “gay and generous heart,” becomes a commodity, boiled into a wig.
The Hair Dealer's Pragmatism
When the vicar brings Alice's hair to a London dealer, the transaction is stark. The dealer handles the hair “as fondly as if I had been a baby,” but immediately declares, “I shall have to make a man's wig of it. The curls will all boil out.” The vicar's horror—he wanted to frame the hair “with a glass over it”—contrasts with the dealer's blunt trade. Follen uses this scene to expose the gap between sentimental value and market price. The wig's own voice, which narrates its journey from Alice's head to the garret, is haunted by this moment of commodification.
Readers should attend to how Follen distributes sympathy across objects and humans alike. The wig is not merely a gimmick; its reluctance to speak, its origin in a mother's sacrifice, and its eventual silence in the garret all comment on the stories we choose to tell—and those we suppress. The frame narrative, with its sleepy girl and purring cat, invites a dreamy suspension of disbelief, but the details of hair selling and class distinction anchor the fantasy in hard social realities.
That rainy afternoon, the wig’s story of Alice’s severed hair lingered with me—how sacrifice wears a pretty mask. Later, browsing shelves, my hand stopped on a worn volume. I remembered that same quiet ache, the weight of lives bound to circumstance. Sasha the serf, and other stories of Russian life — Background and Themes felt like stepping from one garret into another, hearing different voices speak the same language of unfreedom.
Owen Ramirez
2 weeks agoLuke Thomas
3 weeks agoGrace Brown
3 weeks agoSophia Adams
1 week ago-
Brian Simmons - 4 weeks ago
The Talkative Wig is a whimsical and delightful story that sparks the imagination. The idea of a talking wig is cleverly executed, with witty dialogue and a meaningful message about friendship and identity. The illustrations (if any) would be charming, and the narrative is engaging for kids and adults alike. -
Micheal Gomez - 2 weeks ago
The Talkative Wig is an amusing concept with a heartwarming storyline. The strength lies in its originality and lighthearted tone. However, the plot is a bit meandering, and some jokes fall flat. Still, it's a quick, entertaining read that parents can enjoy with their children. -
Matthew Troy Campos - 1 week ago
The Talkative Wig is a missed opportunity. The premise is intriguing, but the execution is lacking: the prose is overwritten, the humor is forced, and the story feels padded. The characters are superficial, and the central message is muddled. I struggled to finish it.
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Leo Gonzalez
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