91 pages • 3 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. For select classroom titles, we also provide Teaching Guides with discussion and quiz questions to prompt student engagement.
Grandmother’s thread is a symbol that embodies Faith in the Mystical. Grandmother spends many days spinning Irene a magical thread made out of spiderwebs, “the finest and strongest of any” (67), which she has her pigeons collect for her. The threads are extremely fine and delicate, and Grandmother also uses her magic to imbue the thread with the light of the moon. Grandmother attaches the thread to Irene’s mother’s fire-opal ring, thus imbuing it with fire and the power of generational love as well. For all its power, however, the thread can only be seen by those who fully believe it is there. Furthermore, it requires Irene to trust where it is guiding her, even if it does not make sense right away.
The thread ultimately leads Irene to Curdie, enabling her to save his life. Since Curdie proves pivotal in saving Irene and the farmhouse from the goblins, it is likely that Grandmother foresaw this and knew that Irene would have the courage and faith to follow the thread and save him. Curdie does not share Irene’s trust in the unseen and finds it difficult to believe that she followed a thread to save him. Once he develops his own faith, however, he follows the thread to find Irene at his mother’s house.
Threads and textiles are common symbols in folklore and myth. As a tool that prevents one from getting lost, Grandmother’s thread especially recalls the thread that the Greek hero Theseus uses to find his way out of the Labyrinth. Many cultures also associate spinning with fate (e.g., the Norns in Norse myth, the Moirai in Greek myth), so the activity suggests Grandmother’s godlike wisdom and power.
The moon-lamp, or “great globe of light shining like the purest silver” (194), appears whenever Grandmother is present and coming to the aid of Irene. At first, Curdie cannot see it, but the fact that it once appeared for Curdie’s mother helps Curdie believe that “perhaps some people can see things other people can’t see” (147). The lamp therefore serves as a symbol of faith, as well as a symbol of protection, survival, and hope, bringing light to the darkness. Grandmother and her moon-lamp can also be interpreted as an embodiment of Luna, the ancient Roman goddess of the moon.
Whenever the moon appears, a sole white pigeon appears alongside it, dashing through the light cast by the moon-lamp. In the novel’s conclusion, the goblins flood the farmhouse and everything falls into chaos. As Curdie is leading the guards to save the horses, Grandmother’s lamp appears, and Curdie is finally able to see it. At the same time, a white pigeon descends from the lamp “with outstretched wings, [makes] one circle round the king and Curdie and the princess, and then glide[s] up again” (194). Upon seeing this, Irene exclaims that her grandmother is not afraid, and thus they need not be either. The white pigeon thus serves as a symbol of safety, survival, and courage. Its dove-like appearance also suggests the Holy Spirit, often depicted as a dove.
One of the novel’s recurring motifs is the singing of rhymes and verses to repel the goblin people. The miners use this technique to keep themselves safe in the mines. When Irene and Lootie become lost on the mountainside, Curdie protects them by belting out songs to give them safe passage home. Curdie explains that the reason the goblins hate singing is because “they can’t sing for themselves, for they have no more voice than a crow” (29). In this sense, the humans’ singing is an act that places them apart from the goblins and also above them. They are exercising a skill that the goblins cannot hope to match.
Symbolically, singing is an expression of imagination, which MacDonald associated with the divine; the humans’ songs therefore embody the better side of The Dual Nature of Humanity. The songs also serve as a beacon of hope for those who sing them, as well as a way to mock the goblins and confront them. For instance, when Curdie sings, “We’re the merry miner-boys, Make the goblins hold their noise” (28), he is singing of the unity and solidarity of the miners.
By George MacDonald