The Wolves Of Cernogratz by Saki revolves around an old castle and its owners, the Cernogratz family, who were forced to sell off their ancestral home after bad luck struck. As a result, they left their ancient family castle. Over time, the Gruebel family acquired the castle.
H.H. Munro (Saki) wrote this intriguing tale about paranormal powers and odd events. The author is well renowned for his stories of magic and mystery.
The Wolves Of Cernogratz | Summary
On one of the last days of December, the Baroness, the new owner of the Cernogratz Castle, was chatting happily with her guests. She was telling them a strange tale about the castle at the time. She claimed that all the wolves and wild animals would materialize out of thin air and begin howling all night long if someone died in the castle. She swiftly disregarded this myth, however, by claiming that it was just a ploy to raise the castle’s value. She continued by saying that she did not believe the claim because she had proof that nothing comparable had ever happened. Nothing of the type occurred and no wolves emerged when her mother-in-law’s elderly mother passed away at the castle. She claimed that the folklore was untrue and that it was complete nonsense. that the story was simply a fabrication to gain free PR for the location. Amalie von Cernogratz, an aging governess working at the home, remarked after hearing this account:
“The story is not as you have told it. It is not when anyone dies in the castle, that the howling is heard. It is only heard, when a member of the Cernogratz family, dies in his family castle that the wolves appear in their thousands and start howling”
The governess vehemently objected and argued that the legend was entirely accurate. Being the last member of the famous Cernogratz family, she was intimately familiar with the family legend. The elderly governess recited the real story in an almost contemptuous tone. She was very clear that if a stranger died inside the castle, no howling would be heard. The wolves would howl in unison, but if a Cernogratz died in his family castle, a giant tree would also fall in the park as the dying person’s soul left its body. The company naturally voiced its amazement.
They believed the elderly woman was acting significant while only playing one. She wants to win our sympathy because she is aware that she will soon be done with employment. that the elderly Amalie is misrepresenting herself as a Cernogratz. The Baroness and her guests were persuaded that the elderly governess was just an average woman who had somehow learned the Cernogratz legend from the local peasants when she departed the room. Later, certain strange events validated every assertion made by the elderly governess.
It so happened that the elderly governess became unwell and was forced to stay in her cramped, depressing chamber. The group had just then heard wolves roaring. The Baroness entered the Governess’ room after feeling some sort of impulse. She was horrified to discover that the old lady was lying on the couch, gravely ill, with all the windows open despite the bitter weather. In a hurry, the Baroness moved to close the windows. However, the Governess sternly forbids her.
To hear the “Death Music” of her family, she requested that the Baroness leave and leave the windows open. The elderly governess was passing away, the baroness informed her guests. The guests overheard a loud noise that was a tree splitting and then falling with a loud thud as they were conversing. The governess died at that same time. The following day, the news of Amalie-von-Cernogratz’s passing and her connection to the Cernogratz family was confirmed in the press. Amalie, the beloved sister of Baron and Baroness Gruebel, had died in the ancestral home.
The Wolves Of Cernogratz | Analysis
The opening scene of “The Wolves of Cernogratz” by H.H. Munro (also known as Saki) features a baroness who is entertaining some visitors in her recently purchased estate and telling them the tale connected to the building. The baroness’s governess, Fraulein Schmidt, unexpectedly interrupts and refutes the baroness’s story, claiming that only when a member of the von Cernogratz is about to die do wolves howl and that a tree falls when the von Cernogratz soul departs from their body. The governess explains that she is the last surviving von Cernogratz and that she learned about these stories from her father after the baroness criticizes her for speaking out against her. The partygoers mock her and rip into her story after she leaves. Hamburg, one man alone
After the holidays, the baroness says she intends to terminate Schmidt. But the governess gets sick during the holidays and is bedridden, so this will never happen. The governess bemoans her illness, which forces her to take care of herself, and is lamenting this tragedy to her guests when she hears wolves howling outside. The governess alerts the baroness that something is wrong and asks her to leave the dying woman alone to die to the noises of the wolves. The sound of a falling tree startles everyone as the baroness reunites with her guests. The name of the governess, the final von Cernogratz, is published in the newspaper the following day.
The characters’ displays of conceit and complacency in this piece. A good portion of what Saki is commenting on in this story can be summed up by his repeated use of negative and snobbish character actions. Saki views the elite of the day as believing they are superior to one another, and this creates an obvious and easy pathway to being a social commentary. As seen by the baroness’ utter contempt for her governess’ remarks, people in his day—especially women—took themselves quite seriously and there appeared to be very little opportunity for negotiation or tolerance. Deliberate lies or mild deception, of which there were many, was the second feature I monitored. The baroness presents the governess in a way that not only makes the governess look extremely unfavorable but also helps to boost her reputation at the same time. She does this by twisting what she said to make it seem as though she is insane, effectively gaslighting her room.
The last clause, in which the baroness told the media that she was close with the late great heir of the von Cernogratzs, is the clearest example of this. The governess is not wholly blameless though; towards the end of the story, it is unclear whether or not she was telling the truth at all or whether the circumstances surrounding her death were odd by accident or design or truly an act of God. We read this tale hoping to learn the answers to the enigmatic legend surrounding this mansion, but in the end, we are left without them. The topic of myths and religious beliefs is explored in the story. The tales around the castle are discussed by the protagonists, particularly the ones about wolves howling and a tree falling when a Cernogratz family member passes away. The Baroness dismisses the traditions as mere fabrication, in contrast to Conrad who finds them strange and romantic, illuminating the various perspectives on and interpretations of folklore and legends.
Additionally, Saki’s humorous tone and social commentary are displayed in this piece. The Baroness’s comfort and dismissiveness of the legends reveal some conceit and a dearth of creativity. With this, Saki mocks the affluent elite and their disinterest in the magical and fanciful facets of life. Amalie, the grey old governess, also casts doubt on the Baroness’ story, implying that there might be more to the legends than first appears. This can be interpreted as a reflection on how crucial it is to weigh other viewpoints and challenge received wisdom. Irony and contrast are used in the story to build suspense and interest. The contrast between Conrad’s poetic temperament and his family members’ realistic natures, especially the Baroness, gives the characters depth and creates the opportunity for tensions and misunderstandings. The irony is that despite the Baroness’s firm claim that the legends are untrue based on her personal experiences, Amalie disputes her and casts doubt on the tale. This irony deepens the mystery and casts doubt on the veracity and accuracy of the legends. The other version of the legend told by Amalie has elements of suspense and foreshadowing. Her account of the wolves howling and the tree collapsing raises the possibility that the legends may be more than mere superstition. This foreshadows possible supernatural occurrences later in the novel, building the reader’s interest and suspense.
Through their discourse, the characters in the story successfully convey their personalities and opinions. Amalie’s sudden volubility and opposing viewpoint, the Baroness’s contentment and realism, and Conrad’s passionate and imaginative tendencies all add to their characterizations. The conversation provides a way to investigate their opinions, motives, and conflicts. Fraulein Schmidt’s speech has a tone of resistance and scorn that conveys her strong feelings and her determination to oppose the Baroness’s contemptuous attitude towards the legends. This heightens the tension and drama in the scene by emphasizing the friction between the old woman’s wisdom and the Baroness’s haughtiness.
The Baroness and the Baron’s response to Fraulein Schmidt’s revelation is a reflection of their social standing and sense of superiority. The Baroness answers harshly and mockingly, challenging the knowledge and credentials of the governess. The Baron’s bulging eyes reveal his scandalized and critical mindset. This portrayal emphasizes the upper class’s haughtiness and elitism as well as their contempt for people they view as inferior. Fraulein Schmidt’s assertion that she is a von Cernogratz and her justification for hiding her true identity gives her character more dimension and raises issues regarding the significance of family history and lineage. She challenges the Baroness’ dismissive attitude by bringing a fresh perspective and authority to the matter thanks to her ties to the castle and her familiarity with the family stories.
The other visitors’ reaction, in which they expressed shock and mockery, underlines their skepticism and refusal to believe the elderly woman’s assertion. This response highlights the general attitude of the upper class towards those who disagree with their preconceived notions and beliefs.
Authenticity and identity are explored throughout the text, especially regarding socioeconomic status and family history. The protagonists are forced to reevaluate their presumptions and biases regarding Fraulein Schmidt and their position in society as a result of her revelation. It also calls into question the significance of maintaining the family history and one’s genuine identity. Fraulein Schmidt’s condition is being treated with dismissal and indifference by the Baroness, who is also self-centered. Instead of showing genuine care for the old governess’ well-being, she views her illness as a nuisance that interferes with her plans and aspirations. This portrayal emphasizes the gap between the classes and the disregard for people who work for the upper class. Fraulein Schmidt is continuously made fun of and denigrated by the Baroness and the Baron, who implies that her claim to be a von Cernogratz is untrue and that her grandpa might have held a lowly position in the castle. Their mockery reveals their social bias and propensity to denigrate and treat those they deem unworthy.
In contrast to the Baroness and the Baron, the merchant from Hamburg responds more sympathetically and insightfully. He either sees tears in the old woman’s eyes or thinks he does, showing that he can empathize and understand the significance of the old woman’s words. This comparison demonstrates the disparity in outlook between people with an inventive inclination and those who are contemptuous and indifferent. Irony exists in the fact that Fraulein Schmidt’s absence due to illness has inconvenienced the Baroness despite her plans to give her notice. The Baroness’s lack of compassion and determination to fire the governess are now interfering with her objectives, which can be considered a type of karma. The story mentions bitter cold and biting weather, which are used as symbols. The hostile and uncaring atmosphere that the Baroness has fostered is reflected in the harshness of the weather. Additionally, it provides a gloomy and depressing tone for the forthcoming events and foreshadows the old governess’s declining health.
The narrative emphasizes the Baroness’ lack of empathy and self-centeredness as it develops her characterization. Additionally, it incorporates ironic and symbolic components that deepen the story.
The wolves’ appearance and howling are symbolic elements in the narrative. They stand for both the impending arrival of death and the uncontrolled, untamed elements of nature. Wolves’ howls arouse feelings of peril, enigma, and approaching disaster. The introduction of the wolves singing the von Cernogratz family’s “death music” adds a spooky and paranormal element to the story. The icy temperatures and the chilly winter night backdrop, along with the open window, add to the eerie mood of the image. The sharp contrast between the warmth and comfort of the visitors inside the castle and the harshness of the outside world heightens the ominous atmosphere. The Baroness leaves her guests and goes to the elderly governess’ room after feeling an odd need. With this action, the Baroness exhibits a change in attitude that transitions her from being contemptuous and haughty to having sympathy and curiosity. The change can indicate that they have come to understand the importance of what is happening to them. The Baroness and the old governess’ conversation foreshadows the governess’ impending demise. The passage’s dramatic climax arrives as the wolves’ howling reaches their highest pitch, signifying the conclusion of the saga and the achievement of the governess’s destiny. The old woman’s expression of delayed happiness suggests a feeling of completion and closure.
In her dying hours, the elderly governess feels a sense of acceptance and belonging to her illustrious, extended family. Her perspective has changed, which represents a resolution and fulfillment of her identity and ancestry. It stands in contrast to the patronizing demeanor of the Baroness and other visitors, who are more concerned with practical issues and monetary considerations. The Baroness’ remark that the howling was “death-music” has an ironic undertone. The old governess views the howling as a lovely and meaningful accompaniment to her departure whereas the Baroness and others find it strange and distressing. The falling tree in the park, which symbolizes the end of an era and the certainty of the governess’s fate, adds to the symbolic aspect of the occurrences.
