Appearance
Excerpt
Excerpt from Polly of the Circus, by Margaret Mayo
“It's allus like this in the end,” he murmured, as he drew a piece of
canvas over the white face and turned away to give orders to the men who
were beginning to load the “props” used earlier in the performance.
When the show moved on that night it was Jim's strong arms that lifted
the mite of a Polly close to his stalwart heart, and climbed with her to
the high seat on the head wagon. Uncle Toby was entrusted with the brown
satchel in which the mother had always carried Polly's scanty wardrobe.
It seemed to these two men that the eyes of the woman were fixed
steadily upon them.
Barker, the manager, a large, noisy, good-natured fellow, at first
mumbled something about the kid being “excess baggage,” but his
objections were only half-hearted, for like the others, he was already
under the hypnotic spell of the baby's round, confiding eyes, and he
eventually contented himself with an occasional reprimand to Toby, who
was now sometimes late on his cues. Polly wondered, at these times,
why the old man's stories were so suddenly cut short just as she was so
“comfy” in the soft grass at his feet. The boys who used to “look sharp”
because of their boss at loading time, now learned that they might
loiter so long as “Muvver Jim” was “hikin' it round for the kid.” It was
Polly who had dubbed big Jim “Muvver,” and the sobriquet had stuck to
him in spite of his six feet two, and shoulders that an athlete might
have envied. Little by little, Toby grew more stooped and small lines
of anxiety crept into the brownish circles beneath Jim's eyes, the lips
that had once shut so firmly became tender and tremulous, but neither of
the men would willingly have gone back to the old emptiness.
Explanation
Detailed Explanation of the Excerpt from Polly of the Circus by Margaret Mayo
Context of the Source
Polly of the Circus (1907) is a sentimental melodrama by Margaret Mayo, a popular early 20th-century American playwright known for her heartwarming, often moralistic stories. The play (later adapted into films) follows Polly, a young orphaned circus performer, and her adoption by a group of rough-but-kind circus workers after her mother’s death. The excerpt provided occurs early in the story, depicting the immediate aftermath of Polly’s mother’s death and the men’s decision to take her in.
The play reflects turn-of-the-century sentimentalism, emphasizing themes of found family, redemption through love, and the softening of hardened men by a child’s innocence. Circus settings were common in melodramas of the era, symbolizing both transience and community—a place where outcasts find belonging.
Themes in the Excerpt
Loss and Grief (Subtle but Present)
- The opening line—“It's allus like this in the end”—hints at the cyclical nature of death in the circus world, where performers come and go, and tragedy is routine. The covering of the mother’s face with canvas is a brutal, matter-of-fact gesture, suggesting that grief must be suppressed for the show to go on.
- The mother’s “steadily fixed” eyes (likely a post-mortem stare) haunt the men, implying unfinished responsibility—her silent gaze compels them to care for Polly.
Found Family and Paternal Love
- The circus men, though rough and pragmatic, instantly bond with Polly, transforming from detached workers into protective father figures.
- Jim (the strongman) and Uncle Toby (an older performer) assume parental roles:
- Jim carries Polly “close to his stalwart heart”—a physical and emotional embrace—symbolizing his new role as her protector.
- Toby is entrusted with her “scanty wardrobe”, a small but significant act of domestic responsibility.
- The nickname “Muvver Jim” is ironic yet tender—a child’s mispronunciation that humanizes the towering, muscular man, reinforcing the softening effect of Polly’s presence.
Redemption Through Innocence
- Polly’s “round, confiding eyes” have a “hypnotic spell” over the men, suggesting her purity melts their hardness. Even the manager, Barker, who initially complains about her being “excess baggage,” succumbs to her charm.
- The men’s physical and emotional changes (Toby’s stoop, Jim’s anxious eyes, trembling lips) show how caring for Polly wears on them, yet they prefer this burden to their former emptiness.
The Circus as a Microcosm of Society
- The circus is a world of rules and hierarchy (Barker’s reprimands, loading cues), but Polly disrupts this order—the boys now “loiter” because “Muvver Jim” is caring for her.
- The wagon’s “high seat” where Jim places Polly symbolizes her elevated status—she is no longer just a performer’s child but the emotional center of the group.
Literary Devices & Stylistic Choices
Symbolism
- The Canvas Over the Mother’s Face: Represents finality and concealment of death, but also the circus’s habit of hiding pain to keep performing.
- Polly’s Satchel: A symbol of her fragile existence—her “scanty wardrobe” suggests poverty, but also that she carries little from her past, making her open to a new life.
- The High Seat on the Wagon: Represents protection and visibility—Polly is both sheltered and central to the group’s dynamic.
Irony & Contrast
- Jim’s Physique vs. His Role: A “six feet two” strongman called “Muvver”—his masculine strength is repurposed for nurturing.
- Barker’s “Excess Baggage” Remark: Initially dismissive, but his half-hearted objections show that even the pragmatic manager is affected by Polly.
- Toby’s Stories Cut Short: The interruption of comfort (Polly’s “comfy” moments in the grass) mirrors how grief and responsibility intrude on simple joys.
Imagery & Sensory Details
- Visual: The mother’s “white face” (pallor of death), Polly’s “round, confiding eyes” (innocence), Jim’s “shoulders that an athlete might have envied” (strength turned gentle).
- Tactile: Polly is “lifted close to his stalwart heart” (warmth, security), the “soft grass” where she sits (comfort amidst hardship).
- Auditory: Barker’s “mumbled” complaints (half-hearted resistance), the silence of the mother’s gaze (lingering presence).
Foreshadowing
- The physical toll on Jim and Toby (“stooped,” “lines of anxiety”) hints at future sacrifices they will make for Polly.
- The circus moving on suggests transience, but also that Polly’s presence will anchor them emotionally.
Dialect & Colloquialism
- “Allus” (always), “hikin’ it round” (carrying her), “sobriquet” (nickname): The mix of rough speech and formal terms (like “hypnotic spell”) creates a contrast between the men’s gruff exteriors and their deep emotions.
Significance of the Passage
This excerpt establishes the emotional core of the play:
- Polly as a Catalyst: Her arrival transforms the men, showing how love and responsibility can redeem even the toughest individuals.
- The Circus as a Family: Despite its impermanence and hardness, the circus becomes a place of belonging—not by blood, but by choice.
- Sentimental Melodrama: The scene pulls at heartstrings through contrasts—strength vs. tenderness, loss vs. new beginnings, harsh reality vs. childlike wonder.
The passage also critiques societal norms of the time:
- Women and Children in a Man’s World: Polly’s mother was likely a performer, and her death leaves Polly vulnerable in a male-dominated space. Yet, the men rise to the occasion, subverting expectations of masculine detachment.
- Economic Hardship: The “scanty wardrobe” and Barker’s “excess baggage” remark highlight poverty and the precariousness of circus life, where even a child is seen as a burden before she becomes a blessing.
Final Interpretation: Why This Scene Matters
This moment is the birth of a new family. The men, who once saw life in practical, performative terms, now redefine themselves through care. Polly, though small and powerless, holds immense influence—her presence reveals their capacity for love.
The covering of the mother’s face is the old world fading; Polly’s ascent to the wagon seat is the new world beginning. The circus, often seen as chaotic and rootless, becomes a sanctuary—not because it’s perfect, but because these flawed men choose to love her.
In essence, the excerpt celebrates the idea that family is not given, but made—and that even the strongest hearts can be softened by the smallest hands.