The Miracle of the Great St. Nicolas 1920 — Text and Context
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The Miracle of the Great St. Nicolas 1920 — Text and Context can be approached with a clearer sense of reading commitment from its source measurements: 12,892 words, 57 min estimated reading time, and 2 detected text sections.
The text analysis averages about 23.4 words per sentence, while the detected sections provide another way to judge how the source is divided.
Project Gutenberg metadata also associates the work with “French fiction -- Translations into English,” connecting these edition facts with the source record’s subject description.
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Read the Text
ing by the halter an old mare so heavily laden with branches cut with their leaves on that her knees were trembling, and she stumbled at every step.
“Alas,” sighed the great St. Nicolas, “here is a poor horse carrying more than its burden. He has unfortunately fallen into the hands of unjust and hard-hearted masters. One should not overload any creature, not even beasts of burden.”
At these words the three boys burst out laughing. The Bishop having asked why they laughed so loudly:
“Because----” said Robin.
“That is----” said Sulpice.
“We laughed,” said Maxime, “because you mistook a mare for a horse. Can’t you see the difference? It is very plain to me. Don’t you know anything about animals?”
“I think,” said Modernus, “the first thing is to teach these children manners.”
At every town, borough, village, hamlet or castle by which he passed, St. Nicolas showed the people the children rescued from the salting-tub, and related the great miracle performed by God, on his intercession; whereupon they were all very joyful, and blessed him. Informed by messengers and travellers of so prodigious an occurrence, the entire population of Trinqueballe came out to meet their pastor, unrolling precious carpets and scattering flowers in his path. The citizens, their eyes wet with tears, gazed at the three victims who had escaped from the salting-tub, and cried: “The Lord be praised!” But the poor children knew no better than to laugh and stick out their tongues; this caused further wonder and compassion, as being a palpable proof of their innocence and misfortune.
The saintly Bishop Nicolas had an orphan niece, Mirande by name, who had just reached her seventh year, and was dearer to him than the light of his eyes. A worthy widow by name Basine was rearing her in piety, good manners, and ignorance of evil. The three miraculously saved children were confided to the care of this lady. She was not lacking in judgment. She quickly saw that Maxime had courage, Robin prudence, and Sulpice the power of reflection. She devoted herself to confirming these good qualities, which, by the corruption common to the whole human race, tended unceasingly to become perverted and distorted; for Robin’s cautiousness turned easily into hypocrisy, and mostly hid a greedy covetousness; Maxime was subject to fits of rage, and Sulpice frequently and obstinately expressed false ideas in very important matters. However, they were but mere children who went bird’s-nesting, stole the garden fruit, tied cooking-pots to dogs’ tails, put ink the holy water font, and cow-itch in Modernus’ bed.
At night, wrapped in white sheets and walking on stilts, they would go into the gardens, and frighten into a swoon the serving-maids belated in their lovers’ arms. They would cover the seat which Madame Basine was wont to use with bristling spikes, and when she sat down they would delight in her sufferings, observing the confusion with which she openly applied a heedful and comforting hand to the damaged spot, for she would not for all the world have been lacking in modesty.
In spite of her age and virtues, this lady inspired them with neither love nor fear. Robin called her an old goat, Maxime an old she-ass, and Sulpice, the ass of Balaam. They teased little Mirande in all sorts of ways; they would dirty her pretty clothes by making her fall face downward on the stones. Once they pushed her head right up to the neck into a barrel of treacle. They taught her to sit astride railings, and to climb trees, contrary to the decorum of her sex; they taught her words and manners that smacked of the inn and the salting-tub. Following their example, she called Madame Bassne “an old goat,” and even, taking the part for the whole, “old goat’s rump.” But she remained completely innocent. The purity of her soul was unchangeable.
“I am fortunate,” said the holy Bishop Nicolas, “in that I rescued these children from the salting-tub, to make them good Christians. They will become faithful servants of God, and their merits will be accounted to me.”
Now, by the third year after their resurrection, when they were already tall and well-made, on a day of spring, as they were all playing in the field beside the river, Maxime in a moment of facetiousness and natural high spirits, threw the Deacon Modernus into the water. Hanging on to the branch of a willow-tree, Modernus called for help. Robin ran up, made as though to draw him out by the hand, took off his ring, and fled.
Meanwhile, Sulpice, sitting motionless on the bank with his arms crossed, said:
Anatole France opens his tale by confronting a textual puzzle: the well-known ballad of St. Nicolas and the salting-tub is absent from the saint's earliest biographies and from the Golden Legend. Rather than dismiss the folk story, France proposes a solution—there were two St. Nicolases. The miracle belongs to the Bishop of Trinqueballe in Vervignole, not the Bishop of Myra. This playful scholarly framing sets the tone for a narrative that treats hagiography as a matter of evidence, inference, and comic contrast.
A Bishop of Two Worlds
The story’s St. Nicolas is a figure caught between spiritual authority and worldly entanglement. He comforts his niece after her jewels are seized by a Jewish moneylender, advising that “a Christian virgin is sufficiently adorned when she wears modesty for a necklace.” Yet he also acknowledges that her jewels were “the treasury of the poor” and deplores their loss. When the moneylenders come to the cathedral sacristy, he threatens them with divine wrath, then pleads, then promises repayment—shifting from anathema to supplication within a single scene. France presents a bishop who must negotiate with creditors, sheriff’s officers, and a king who borrows from the same moneylenders. The holy man’s power is real but circumscribed; his miracles coexist with promissory notes.
Debt, Usury, and the Sacred
France devotes considerable attention to the mechanics of debt. The niece’s catalogue of confiscated jewels—diamonds, emeralds, sapphires, “a great diamond cross, with angels’ heads in enamel”—is rendered with the precision of an inventory. The moneylenders Seligmann, Issachar, and Meyer are not villains but businessmen: they “politely” decline to postpone collection, they are “protected by King Berln, for they lent him money.” The bishop’s threat to “sound the tocsin” against them is met with smiles and a gesture toward the sheriff’s officers. France juxtaposes the language of sacrilege with the language of contracts, creating a world where spiritual and financial obligations are equally binding—and equally subject to negotiation.
The Salting-Tub as Scholarly Puzzle
France’s treatment of the central miracle is deliberately arch. He notes that the ballad says the children remained “seven years in pickle,” whereas pork is usually cured in “about six weeks.” He cites the rhyme’s “inimitable stamp of honesty and good faith” while simultaneously dissecting its implausibilities. The narrator claims to have “reconciled the authority of the ballad with the silence of the ancient biographers” by positing a second St. Nicolas—a solution that is both a parody of textual criticism and a genuine narrative device. The result is a story that never quite commits to either belief or skepticism, leaving the reader to decide whether the miracle is a matter of faith, folklore, or farce.
France’s tale rewards attention to its tonal shifts: the narrator’s deadpan scholarly voice, the niece’s tearful listing of gems, the bishop’s oscillating fury and humility. Readers may find the story’s comedy in the collision between the miraculous and the mercantile. The salting-tub miracle, whether performed by the Bishop of Myra or the Bishop of Trinqueballe, becomes a lens through which France examines how legends survive—and how they are reshaped by the very evidence meant to confirm them.
Reading The Miracle of the Great St. Nicolas, I kept thinking about how quietly both tales hold their strangeness—the way a disputed saint and a rough homestead both ask what it means to believe in something solid. That same patient wonder surfaced when I later found Our Home in the Silver West: A Story of Struggle and Adventure — Story, Setting & Ideas, where the frontier feels less like a destination than a lingering question about home itself.
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