The Five Jars — Context and Discussion

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James, M. R. (Montague Rhodes), 1862-1936 Project Gutenberg 2007 Not confirmed
Fantasy fiction, English Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 28,078
Reading time 123 min
Text sections 3

For The Five Jars — Context and Discussion, the stored edition analysis reports 28,078 words, 2 hr 3 min estimated reading time, and 3 detected text sections.

The text analysis averages about 18.8 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 “Fantasy fiction, English,” connecting these edition facts with the source record’s subject description.

M.R. James's only children's fantasy follows a narrator who, after dreaming of a mysterious plant, gains the ability to see and speak with animals. The story balances whimsical woodland conversations with eerie undertones, as the discovery of five jars brings both enchantment and risk.
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Editorial Edition Score 4.5/5

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  • Title & short description10 pts
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There were five compartments in the box: in each of them was a little jar or vase of glass with a round body, a narrow neck, and spreading out a little at the top. The top of each was covered with a plate of metal and on each plate was a word or two in capital letters. On the one in the middle there were the words _unge oculos_, the other jars had one word apiece, _aures_, _linguam_, _frontem_, _pectus_.

Now, years ago, I took great pains to learn the Latin language, and on many occasions I have found it _most useful_, whatever you may see to the contrary in the newspaper: but seldom or never have I found it more useful than now. I saw at once that the words meant _anoint the eyes_, _the ears_, _the tongue_, _the forehead_, _the chest_. What would be the result of my doing this, of course I knew no more than you: but I was pretty sure that it would not do to try them all at once, and another thing I felt, that it would be better to wait till next day before trying any of them. It was past midnight now, so I went to bed: but first I locked up the box in a cupboard, for I did not want anyone to see it as yet.

Next day I woke bright and early, looked at my watch, found there was no need to think about getting up yet, and, like a wise creature, went to sleep again. I mention this, not merely by way of being jocose, but because after I went to sleep I had a dream which most likely came from the plant and certainly had to do with the box.

I seemed to see a room, or to be in a room about which I only noticed that the floor was paved with mosaic in a pattern mostly red and white, that there were no pictures on the walls and no fireplace, no sashes or indeed panes in the window, and the moon was shining in very bright. There was a table and a chest. Then I saw an old man, rather badly shaved and bald, in a Roman dress, white for the most part, with a purple stripe somewhere, and sandals. He looked by no means a wicked or designing old man. I was glad of that. He opened the chest, took out my box, and placed it carefully on the table in the moonlight. Then he went to a part of the room I could not see, and I heard a sound of water being poured into a metal basin, and he came into sight again, wiping his hands on a white towel. He opened the box, took out a little silver spoon and one of the jars, took off the lid and dipped the spoon in the jar and touched first his right eye and then his left with it. Then he put the jar and the spoon back, laid the lid on the box and put it back in the chest. After that he went to the window and stood there looking out, and seemed to be very much amused with what he saw. That was all.

"Hints for me," I remember thinking. "Perhaps it will be best not to touch the box before the moon is up to-night, and always with washed hands." I suppose I woke up immediately, for it was all very fresh in my mind when I did.

It was something of a disappointment to have to put off my experiments till the night came round. But it was all for the best, for letters came by the post which I had to attend to: in fact, I was obliged to go to the town a little way off to see someone and to send telegrams and so on. I was a little doubtful about the seeing things underground, but I soon found that unless I--so to say--turned on the tap, and specially wished and tried to use the power, it did not interfere with my ordinary seeing. When I did, it seemed to come forward from the back of my eyes, and was stronger than the day before. I could see rabbits in their burrows and followed the roots of one oak-tree very deep down. Once it threatened to be awkward, when I stooped to pick up a silver coin in the street, and grazed my knuckle against a paving stone, under which, of course, it was.

So much for that. By the way, I had taken a look at the box after breakfast, I found (not very much to my surprise) that the lid was as tight on it as when I found it first.

The narrator's adventure begins not with a deliberate quest but with a dream of a plant: six leaves, nine points each, growing beside a gnarled root 'with three sorts of eyes in it.' This precise botanical vision—recalled because 'six times nine makes fifty-four'—sets the tone for a story where luck and belief matter more than skill. The wood, with its brown clear stream and alder-shaded light, is described with the same exactness James brings to his ghost stories, yet here the uncanny leads not to terror but to talking owls, a gossipy cat, and a rabbit telling an interminably dull tale.

A Dream That Becomes a Key

The opening chapter establishes a pattern: the narrator receives knowledge without effort, then must act on it. The dream-plant is 'worth finding'—a conviction that drives him to dig by the stream, where he uncovers the first jar. James grounds this supernatural event in sensory detail: the water is 'brown and clear,' the sun makes 'flecks of light through the leaves.' The narrator's casual admission that he 'went to sleep' instead of reading underscores the story's reliance on passive receptivity. Unlike a scholarly antiquary, this protagonist stumbles into wonder.

Seeing Through and Speaking With

After acquiring the jars' contents, the narrator gains the ability to 'see through' surfaces—to observe coppers dropped on field paths, bones of men, and four gold cups around a vanished book. More strikingly, he can speak to animals, using a voice he cannot fully describe. The owls' conversation reveals a hierarchy: 'the Right People,' 'the Old Mother,' and the dismissive reference to 'the boys.' The cat, when addressed, is 'horribly startled' but recovers. James leavens the magical with the mundane: a mother rabbit's story drones on about dandelions, and the narrator stamps to drive off a stoat, noting that stoats are 'of the wrong people.'

Risks and Warnings Among the Small People

The owls debate the consequences of the narrator's newfound power. One warns that if the jars are obtained 'without a warning, there's another risk'; the other counters that even with a warning, ignorance of the recipient is dangerous. This tension—between the allure of hidden knowledge and its potential perils—runs through the excerpts. The narrator overhears but does not intervene, learning 'as much perhaps as I could expect.' The story hints at a larger system of rules and alliances among animals, but the excerpts leave these only partially explained, preserving an air of mystery.

Readers familiar with M.R. James's ghost stories will recognize his precise eye for detail and his willingness to leave gaps in explanation. Here, those gaps feel inviting rather than menacing. The narrative voice—conversational, addressed to 'My Dear Jane'—creates intimacy, while the animal dialogues offer both comedy and cryptic lore. Pay attention to what the owls say about warnings and risks; the story may reward those who, like the narrator, are ready to believe more than they can see.

Reading The Five Jars, I felt that peculiar hush of a threshold, the way enchantment asks for quiet trust. It recalled another old tale, The Story of the Glittering Plain Which Has Been Also Called the Land of Living Men or the Acre of the Undying — Context and Discussion, where the longing for a deathless shore carries the same strange weight. Both keep their magic just out of reach, like a memory of a dream.

Isaac Nelson
2 weeks ago

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  • ...
    Debra Kimberly Rangel - 1 month ago
    A whimsical and imaginative journey that captures the wonder of childhood. The story is magical and heartwarming, with charming prose that makes it a delight to read aloud. It's a short but enchanting tale that will leave both children and adults smiling. Truly a hidden gem for those seeking a bit of whimsy.

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    Mark James - 2 weeks ago
    The Five Jars offers a creative and thought-provoking narrative, but it might be too abstract for some readers. The writing is engaging, and the ideas are interesting, but the lack of a traditional plot might leave others wanting more. A fairly quick read that's worth a try if you enjoy classic fantasy.

  • ...
    Daniel Doyle - 2 weeks ago
    I found this book to be somewhat disjointed and difficult to follow. The narrative meanders without a clear direction, and the ending feels unsatisfying. It has its moments of brilliance, but overall, it was not as enjoyable as I hoped. Probably best for devoted fans of the author's other works.


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