A Company of Swans by Eva Ibbotson
In summary, A Company of Swans is the story of Harriet Morton, a nineteen year old girl living in Cambridge, England in 1912. Her life has not been a happy one so far: her father and aunt have been raising her since her mother died about seventeen years before the book takes place, and their style of child rearing is old fashioned and achingly primitive at the best of times. Although her father, a professor, has educated her well, he rules over Harriet's life in every way and intends to marry her off to one of his fellow colleagues at Cambridge University, Edward, instead of allowing her to finish school and go to college like everyone except her family wants her to. Her only creative outlet, and her only source of happiness, is ballet.
She is asked to go on tour with a world-renowned professional ballet company to Brazil, but to her father this is something akin to prostitution and he not only forbids her to go, but pulls her out of dance altogether. Facing the rest of her life trapped in a dreary household with stony-hearted family members, Harriet runs away with the ballet company, disobeying her overbearing father for the first time in her life. When in Brazil, she meets Romain "Rom" Verney, an aristocrat turned self-made businessman who exiled himself from England after his brother stole his entire inheritance. They soon fall in love, but problems arise when the man that Harriet's father wanted her to marry, Edward, appears in Brazil looking to take her back to Cambridge, by force if necessary. She avoids his attempt to kidnap her with the help of her fellow ballerinas and Rom only to have Rom's former fiancé, Isobel, who had ended up leaving Rom for his brother because of his inheritance, appear and beg Rom to come back to England so he can save the family's estate after his brother's death. Harriet assumes that Rom will leave her to marry his first love, Isobel, and leaves his home heartbroken and without saying goodbye or why she is leaving. She takes up an offer to travel to Russia with the ballet company in order gat as far away from Brazil as possible but is caught by her father and aunt when the group of dancers land in England on their way to St. Petersburg. Harriet is confined to her house for almost a month, stubbornly silent, before her father decides to institutionalize her. Fortunately, she is rescued by Rom, who has finally realized why she left Brazil so suddenly and desperately needs to tell her that he wants to marry her, not Isobel. He "asks" for Professor Morton's permission to marry Harriet, and the two leave to go live on Rom's English estate to get married and live out the rest of their lives.
She is asked to go on tour with a world-renowned professional ballet company to Brazil, but to her father this is something akin to prostitution and he not only forbids her to go, but pulls her out of dance altogether. Facing the rest of her life trapped in a dreary household with stony-hearted family members, Harriet runs away with the ballet company, disobeying her overbearing father for the first time in her life. When in Brazil, she meets Romain "Rom" Verney, an aristocrat turned self-made businessman who exiled himself from England after his brother stole his entire inheritance. They soon fall in love, but problems arise when the man that Harriet's father wanted her to marry, Edward, appears in Brazil looking to take her back to Cambridge, by force if necessary. She avoids his attempt to kidnap her with the help of her fellow ballerinas and Rom only to have Rom's former fiancé, Isobel, who had ended up leaving Rom for his brother because of his inheritance, appear and beg Rom to come back to England so he can save the family's estate after his brother's death. Harriet assumes that Rom will leave her to marry his first love, Isobel, and leaves his home heartbroken and without saying goodbye or why she is leaving. She takes up an offer to travel to Russia with the ballet company in order gat as far away from Brazil as possible but is caught by her father and aunt when the group of dancers land in England on their way to St. Petersburg. Harriet is confined to her house for almost a month, stubbornly silent, before her father decides to institutionalize her. Fortunately, she is rescued by Rom, who has finally realized why she left Brazil so suddenly and desperately needs to tell her that he wants to marry her, not Isobel. He "asks" for Professor Morton's permission to marry Harriet, and the two leave to go live on Rom's English estate to get married and live out the rest of their lives.
Injuries in Fiction vs. Injuries in Reality
Galina Simonova, the magnificent prima ballerina of Harriet’s company, is described time and time again as worrying constantly about her health, complaining of her many aches and pains, and having bouts of anxiety and depression because of her age. She repeats over and over that she wants to retire because she is tired and in pain, but can never entirely bring herself to stop dancing. Her difficulty leaving suggests that many of her injuries later in the book when retirement is imminent are not serious and that much of the pain she is in is psychosomatic.
The root of the problem is her body itself, which is dealing with the pain of dancing, a grueling schedule, and aging. The physical pain from those three factors is completely natural! However, Simonova interprets her aging body as a sign to retire and subconsciously creates so much anxiety for herself that her pain multiplies and hinders her even more. Deep down, she abhors the thought of retiring and giving up dancing, as shown by her reaction when she is injured and faces the thought of living in the beautiful but terribly boring countryside: “Simonova…who had not shed one tear when the doctors pronounced their implacable verdict, was weeping. ‘I do not want to [leave]!’” (Ibbotson 262)
A psychosomatic hindrance as well as a serious injury is like a time bomb finally going off in Simonova’s body. Her back completely gives out on her and
all of the diagnoses the doctors give her are serious: a hemorrhage of the spinal column, intervertebral compression, or torn lumbar nerves. Operating on
her would be dangerous and unlikely to have successful results, maybe even killing her in the process. It’s common knowledge that spine injuries are tricky; they connect to the brain as well as every other part of the body and are usually permanent. Doctors today are still unable to guarantee successful surgeries, and in 1912 recovery would have been out of the question! Combined with mental anxiety and preexisting psychosomatically induced health
problems, Simonova would have no chance of recovering in real life, perhaps not even surviving.
The root of the problem is her body itself, which is dealing with the pain of dancing, a grueling schedule, and aging. The physical pain from those three factors is completely natural! However, Simonova interprets her aging body as a sign to retire and subconsciously creates so much anxiety for herself that her pain multiplies and hinders her even more. Deep down, she abhors the thought of retiring and giving up dancing, as shown by her reaction when she is injured and faces the thought of living in the beautiful but terribly boring countryside: “Simonova…who had not shed one tear when the doctors pronounced their implacable verdict, was weeping. ‘I do not want to [leave]!’” (Ibbotson 262)
A psychosomatic hindrance as well as a serious injury is like a time bomb finally going off in Simonova’s body. Her back completely gives out on her and
all of the diagnoses the doctors give her are serious: a hemorrhage of the spinal column, intervertebral compression, or torn lumbar nerves. Operating on
her would be dangerous and unlikely to have successful results, maybe even killing her in the process. It’s common knowledge that spine injuries are tricky; they connect to the brain as well as every other part of the body and are usually permanent. Doctors today are still unable to guarantee successful surgeries, and in 1912 recovery would have been out of the question! Combined with mental anxiety and preexisting psychosomatically induced health
problems, Simonova would have no chance of recovering in real life, perhaps not even surviving.
An x-ray of the lumbar portion of the spine, which Simonova may have damaged.
Harriet is a Goddess!
Eva Ibbotson is known for inserting a vast array of allusions to classical literature in her stories, and A Company of Swans is no different. The references that we will be discussing begin when Harriet arrives in Manaus and goes out to lunch with Rom. There, she stumbles across a pomegranate. Pomegranates, complicated fruits that must be cut up and eaten with great care, have great importance in ancient Greek myths, especially the ones pertaining to Persephone and her imprisonment in Hades for six months of each year. She is trapped there because she ate six small, unimposing seeds that eventually ruled
her life.
In the first scene where pomegranates are alluded to, Harriet and Rom reference Greek myths in their conversation by flirting about Harriet
being “imprisoned” by Rom. This refers to the fact that she came to Manaus to escape imprisonment by her father, therefor being unable to leave Rom and the Amazon is exactly what she wishes for. However, before she can eat any of the seeds, she explains to Rom her quest to save Stavely and have him return to England. He immediately grows very angry, refusing to speak to her anymore and proceeds to throw the pomegranate into the river next to where they are eating lunch.
Aside from being completely misleading (since the readers were expecting the duo’s romantic relationship to begin after spending time with each other),
there is much more to the scene than meets the eye. Harriet cannot eat the pomegranate seed not because Rom is angry at her for mentioning Stavely, but
because she is already of prisoner of another Hades, one that is substantially more alike to a god of death than Rom: Professor Morton. (This somewhat ironic,
since in the original story of Persephone it is a parent that must rescue her daughter from someone who wants to marry her.) Rom is actually a representation
of Demeter, Persephone’s mother and savior who spends so much time searching for her after Persephone disappears.
Fortunately for the reader, A Company of Swans has a more satisfying ending than the mythical story of Persephone: instead of Persephone/Harriet being stuck with Hades/Professor Morton for six months out of the year, every year, Rom is able to find Harriet and take her away from her father’s cruel grip so the two can finally get married.
her life.
In the first scene where pomegranates are alluded to, Harriet and Rom reference Greek myths in their conversation by flirting about Harriet
being “imprisoned” by Rom. This refers to the fact that she came to Manaus to escape imprisonment by her father, therefor being unable to leave Rom and the Amazon is exactly what she wishes for. However, before she can eat any of the seeds, she explains to Rom her quest to save Stavely and have him return to England. He immediately grows very angry, refusing to speak to her anymore and proceeds to throw the pomegranate into the river next to where they are eating lunch.
Aside from being completely misleading (since the readers were expecting the duo’s romantic relationship to begin after spending time with each other),
there is much more to the scene than meets the eye. Harriet cannot eat the pomegranate seed not because Rom is angry at her for mentioning Stavely, but
because she is already of prisoner of another Hades, one that is substantially more alike to a god of death than Rom: Professor Morton. (This somewhat ironic,
since in the original story of Persephone it is a parent that must rescue her daughter from someone who wants to marry her.) Rom is actually a representation
of Demeter, Persephone’s mother and savior who spends so much time searching for her after Persephone disappears.
Fortunately for the reader, A Company of Swans has a more satisfying ending than the mythical story of Persephone: instead of Persephone/Harriet being stuck with Hades/Professor Morton for six months out of the year, every year, Rom is able to find Harriet and take her away from her father’s cruel grip so the two can finally get married.
Harriet and Simonova: Character Foils?
If you look at the interactions between Harriet and Simonova throughout A Company of Swans, you may come to the conclusion that they are an unusual set of character foils. Harriet’s personality, soft-spoken, timid, humble, and naïve, is at first overpowered by Simonova, who is prideful, experienced, confident, and dramatic. When one woman has great misfortune, the other woman is attaining great success and happiness. They are there to support each other in those times, and draw out emotions and characteristics that aren’t seen by any of the other characters. Their most prominent similarities, though, lie in their love and adoration of dance.
That love leads them both to the trip to South America. Simonova brings her many years of experience to the stage as well as well as her fame, her
network of connections with other dancers, her ambition, and her fierce competitiveness. She is an artist through and through, and is able to give
anyone who watches her dance an unforgettable experience. Harriet, on the other hand, is as green as they come. She is an unknown, having never performed in
public before, and her only connections with other dancers are with people she’s only known for a week. Instead of being ambitious like many other dancers, she
is quiet and does nothing to attract attention to herself. One might think that Simonova and the other dancers would eat her alive for encroaching on their
world and of competition, but they all form together to support each other. Simonova sees how successful Harriet has the potential to be if she continues to dance and loves her for her sweet, kind personality. Harriet, in turn, looks up to Simonova as a mentor and the mother she never had.
That mutual support becomes very important when Simonova is injured during a performance. Harriet and the rest of the dancers are worried sick about
her, even as Harriet is having the time of her life being with Rom and falling in love with him. Simonova’s misfortune plays off of Harriet’s bliss and love to show how imperfect their situation is and to differentiate the two. The tables turn on Harriet soon afterward as her heart is broken by Isobel’s arrival in Manaus. Thinking that Rom will marry his old love, she runs, blinded by grief, back to the company. Simonova has recovered by then and takes Harriet fully under her wing, offering her a place in the group of dancers that are traveling back to Russia to perform for the Tsar.
The supportive way that the two women treat each other is unusual for character foils, especially compared to other foils such as Tybalt and Mercutio from Romeo and Juliet and Ralph and Jack from Lord of the Flies. Their relationship is just as interesting as the dances that they perform together.
That love leads them both to the trip to South America. Simonova brings her many years of experience to the stage as well as well as her fame, her
network of connections with other dancers, her ambition, and her fierce competitiveness. She is an artist through and through, and is able to give
anyone who watches her dance an unforgettable experience. Harriet, on the other hand, is as green as they come. She is an unknown, having never performed in
public before, and her only connections with other dancers are with people she’s only known for a week. Instead of being ambitious like many other dancers, she
is quiet and does nothing to attract attention to herself. One might think that Simonova and the other dancers would eat her alive for encroaching on their
world and of competition, but they all form together to support each other. Simonova sees how successful Harriet has the potential to be if she continues to dance and loves her for her sweet, kind personality. Harriet, in turn, looks up to Simonova as a mentor and the mother she never had.
That mutual support becomes very important when Simonova is injured during a performance. Harriet and the rest of the dancers are worried sick about
her, even as Harriet is having the time of her life being with Rom and falling in love with him. Simonova’s misfortune plays off of Harriet’s bliss and love to show how imperfect their situation is and to differentiate the two. The tables turn on Harriet soon afterward as her heart is broken by Isobel’s arrival in Manaus. Thinking that Rom will marry his old love, she runs, blinded by grief, back to the company. Simonova has recovered by then and takes Harriet fully under her wing, offering her a place in the group of dancers that are traveling back to Russia to perform for the Tsar.
The supportive way that the two women treat each other is unusual for character foils, especially compared to other foils such as Tybalt and Mercutio from Romeo and Juliet and Ralph and Jack from Lord of the Flies. Their relationship is just as interesting as the dances that they perform together.
Swan Lake- The Grand Finale!
Ah, the grand finale of Swan Lake! It is said to be one of the most amazing scenes of ballet ever choreographed, and have some of the best music ever composed by Tchaikovsky. It is the last dance of the final act, when Odette and her beloved Prince Siegfried throw themselves into Odette's lake and die rather than spend eternity apart, showing each other the depth of their love and breaking the powers of the evil sorcerer Rothbart. Unfortunately, this is also the act of Swan Lake where Simonova injures her back, showing a parallel between her and Odette since both women suffer greatly.
The Nutcracker- Dance of the Sugarplum Fairy
The Dance of the Sugarplum Fairy may be the most famous, well-known dance of the Nutcracker Ballet and Tchaikovsky's most well-known compositions. Unfortunately, it doesn't hold the joy it is usually associated with in A Company of Swans. Simonova's younger rival, Masha Repin, makes her debut starring as the Sugar Plum Fairy and makes quite an impression on the crowd. She receives more applause and praise than Simonova, the star of the company. Masha's youth holds the advantage, which is a great blow to Simonova's pride. It is so demoralizing that it may have a role in her back injury, which happens three nights later, once again supporting the theory of her injury being mostly psychosomatic.