Fur
by H.H. Munro (SAKI)
Fur is a comic tale of two friends who scheme to acquire a fashionable fur from a most unlikely source — with results that test their ingenuity and their friendship. "The fur was magnificent, and it was within reach."
"I am worried," admitted Suzanne; "not worried exactly, but anxious. You see, my birthday happens next week - "
"You lucky person," interrupted Eleanor; "my birthday doesn't come till the end of March."
"Well, old Bertram Kneyght is over in England just now from the Argentine. He's a kind of distant cousin of my mother's, and so enormously rich that we've never let the relationship drop out of sight. Even if we don't see him or hear from him for years he is always Cousin Bertram when he does turn up. I can't say he's ever been of much solid use to us, but yesterday the subject of my birthday cropped up, and he asked me to let him know what I wanted for a present."
"Now I understand the anxiety," observed Eleanor.
"As a rule when one is confronted with a problem like that," said Suzanne, "all one's ideas vanish; one doesn't seem to have a desire in the world. Now it so happens that I have been very keen on a little Dresden figure that I saw somewhere in Kensington; about thirty- six shillings, quite beyond my means. I was very nearly describing the figure, and giving Bertram the address of the shop. And then it suddenly struck me that thirty-six shillings was such a ridiculously inadequate sum for a man of his immense wealth to spend on a birthday present. He could give thirty-six pounds as easily as you or I could buy a bunch of violets. I don't want to be greedy, of course, but I don't like being wasteful."
"The question is," said Eleanor, "what are his ideas as to present-giving? Some of the wealthiest people have curiously cramped views on that subject. When people grow gradually rich their requirements and standard of living expand in proportion, while their present-giving instincts often remain in the undeveloped condition of their earlier days. Something showy and not-too- expensive in a shop is their only conception of the ideal gift. That is why even quite good shops have their counters and windows crowded with things worth about four shillings that look as if they might be worth seven-and- six, and are priced at ten shillings and labelled seasonable gifts.' "
"I know," said Suzanne; "that is why it is so risky to be vague when one is giving indications of one's wants. Now if I say to him: 'I am going out to Davos this winter, so anything in the travelling line would be acceptable,' he might give me a dressing-bag with gold- mounted fittings, but, on the other hand, he might give me Baedeker's Switzerland, or `Skiing without Tears,' or something of that sort."
"He would be more likely to say: 'She'll be going to lots of dances, a fan will be sure to be useful.' "
"Yes, and I've got tons of fans, so you see where the danger and anxiety lies. Now if there is one thing more than another that I really urgently want it is furs. I simply haven't any. I'm told that Davos is full of Russians, and they are sure to wear the most lovely sables and things. To be among people who are smothered in furs when one hasn't any oneself makes one want to break most of the Commandments."
"If it's furs that you're out for," said Eleanor, "you will have to superintend the choice of them in person. You can't be sure that your cousin knows the difference between silver-fox and ordinary squirrel."
"There are some heavenly silver-fox stoles at Goliath and Mastodon's," said Suzanne, with a sigh; "if I could only inveigle Bertram into their building and take him for a stroll through the fur department!"
"He lives somewhere near there, doesn't he?" said Eleanor. "Do you know what his habits are? Does he take a walk at any particular time of day?"
"He usually walks down to his club about three o'clock, if it's a fine day. That takes him right past Goliath and Mastodon's."
"Let us two meet him accidentally at the street corner to-morrow," said Eleanor; "we can walk a little way with him, and with luck we ought to be able to side- track him into the shop. You can say you want to get a hair-net or something. When we're safely there I can say: 'I wish you'd tell me what you want for your birthday.' Then you'll have everything ready to hand - the rich cousin, the fur department, and the topic of birthday presents."
"It's a great idea," said Suzanne; "you really are a brick. Come round to-morrow at twenty to three; don't be late, we must carry out our ambush to the minute."
At a few minutes to three the next afternoon the fur-trappers walked warily towards the selected corner. In the near distance rose the colossal pile of Messrs. Goliath and Mastodon's famed establishment. The afternoon was brilliantly fine, exactly the sort of weather to tempt a gentleman of advancing years into the discreet exercise of a leisurely walk.
"I say, dear, I wish you'd do something for me this evening," said Eleanor to her companion; "just drop in after dinner on some pretext or other, and stay on to make a fourth at bridge with Adela and the aunts. Otherwise I shall have to play, and Harry Scarisbrooke is going to come in unexpectedly about nine-fifteen, and I particularly want to be free to talk to him while the others are playing."
"Sorry, my dear, no can do," said Suzanne; "ordinary bridge at threepence a hundred, with such dreadfully slow players as your aunts, bores me to tears. I nearly go to sleep over it."
"But I most particularly want an opportunity to talk with Harry," urged Eleanor, an angry glint coming into her eyes.
"Sorry, anything to oblige, but not that," said Suzanne cheerfully; the sacrifices of friendship were beautiful in her eyes as long as she was not asked to make them.
Eleanor said nothing further on the subject, but the corners of her mouth rearranged themselves.
"There's our man!" exclaimed Suzanne suddenly; "hurry!"
Mr. Bertram Kneyght greeted his cousin and her friend with genuine heartiness, and readily accepted their invitation to explore the crowded mart that stood temptingly at their elbow. The plate-glass doors swung open and the trio plunged bravely into the jostling throng of buyers and loiterers.
"Is it always as full as this?" asked Bertram of Eleanor.
"More or less, and autumn sales are on just now," she replied.
Suzanne, in her anxiety to pilot her cousin to the desired haven of the fur department, was usually a few paces ahead of the others, coming back to them now and then if they lingered for a moment at some attractive counter, with the nervous solicitude of a parent rook encouraging its young ones on their first flying expedition.
"It's Suzanne's birthday on Wednesday next," confided Eleanor to Bertram Kneyght at a moment when Suzanne had left them unusually far behind; "my birthday comes the day before, so we are both on the look-out for something to give each other."
"Ah," said Bertram. "Now, perhaps you can advise me on that very point. I want to give Suzanne something, and I haven't the least idea what she wants."
"She's rather a problem," said Eleanor. "She seems to have everything one can think of, lucky girl. A fan is always useful; she'll be going to a lot of dances at Davos this winter. Yes, I should think a fan would please her more than anything. After our birthdays are over we inspect each other's muster of presents, and I always feel dreadfully humble. She gets such nice things, and I never have anything worth showing. You see, none of my relations or any of the people who give me presents are at all well off, so I can't expect them to do anything more than just remember the day with some little trifle. Two years ago an uncle on my mother's side of the family, who had come into a small legacy, promised me a silver-fox stole for my birthday. I can't tell you how excited I was about it, how I pictured myself showing it off to all my friends and enemies. Then just at that moment his wife died, and, of course, poor man, he could not be expected to think of birthday presents at such a time. He has lived abroad ever since, and I never got my fur. Do you know, to this day I can scarcely look at a silver-fox pelt in a shop window or round anyone's neck without feeling ready to burst into tears. I suppose if I hadn't had the prospect of getting one I shouldn't feel that way. Look, there is the fan counter, on your left; you can easily slip away in the crowd. Get her as nice a one as you can see - she is such a dear, dear girl."
"Hullo, I thought I had lost you," said Suzanne, making her way through an obstructive knot of shoppers. "Where is Bertram?"
"I got separated from him long ago. I thought he was on ahead with you," said Eleanor. "We shall never find him in this crush."
Which turned out to be a true prediction.
"All our trouble and forethought thrown away," said Suzanne sulkily, when they had pushed their way fruitlessly through half a dozen departments.
"I can't think why you didn't grab him by the arm," said Eleanor; "I would have if I'd known him longer, but I'd only just been introduced. It's nearly four now, we'd better have tea."
Some days later Suzanne rang Eleanor up on the telephone.
"Thank you very much for the photograph frame. It was just what I wanted. Very good of you. I say, do you know what that Kneyght person has given me? Just what you said he would - a wretched fan. What? Oh yes, quite a good enough fan in its way, but still . . ."
"You must come and see what he's given me," came in Eleanor's voice over the 'phone.
"You! Why should he give you anything?"
"Your cousin appears to be one of those rare people of wealth who take a pleasure in giving good presents," came the reply.
"I wondered why he was so anxious to know where she lived," snapped Suzanne to herself as she rang off.
A cloud has arisen between the friendships of the two young women; as far as Eleanor is concerned the cloud has a silver-fox lining.
Frequently Asked Questions
What is "Fur" by Saki about?
"Fur" is a short story about two young women, Suzanne and Eleanor, who scheme to get Suzanne an expensive silver-fox stole from her wealthy distant cousin Bertram Kneyght. Suzanne's birthday is approaching, and Bertram has asked what she wants. Rather than naming a modest gift, Suzanne covets furs for her upcoming trip to Davos. Eleanor devises a plan to "accidentally" meet Bertram near a department store and steer him into the fur department. However, when Suzanne refuses to do Eleanor a favor in return, Eleanor quietly redirects the scheme: she tells Bertram a sad story about never receiving a promised silver-fox stole, and suggests he buy Suzanne a fan instead. The story ends with Suzanne receiving the unwanted fan while Eleanor gets the coveted fur — a classic Saki twist that punishes selfishness with poetic justice.
What are the main themes of "Fur" by Saki?
The story explores several interconnected themes:
- Selfishness and its consequences — Suzanne thinks only of herself, both in plotting to extract an expensive gift from Bertram and in refusing Eleanor's simple request for help. Her selfishness ultimately costs her the very prize she wanted.
- Materialism and social status — Suzanne values Bertram not as a relative but as a source of luxury goods. She dreads being seen without furs among the Russians at Davos, revealing how deeply appearance dictates her social anxieties.
- The fragility of superficial friendship — Neither woman is genuinely invested in the other's welfare. Their friendship is transactional, and it collapses the moment self-interest takes priority.
- Revenge and cunning — Eleanor's swift, silent retaliation is a masterpiece of social maneuvering. Like Vera in The Open Window, Eleanor uses storytelling to manipulate a situation entirely to her advantage.
What is the twist ending of "Fur"?
The twist is that Eleanor, who devised the entire plan to help Suzanne get a fur from Bertram, ends up getting the fur herself. When Suzanne refused to help Eleanor with a simple bridge game favor, Eleanor quietly changed tactics. While separated from Suzanne in the crowded store, she told Bertram a tearful story about an uncle who once promised her a silver-fox stole but never delivered it — and then suggested he buy Suzanne a fan. Days later, Suzanne calls to report that Bertram gave her "a wretched fan," only to learn that Eleanor received a generous gift from Bertram. The final line delivers the punchline with characteristic Saki wit: "A cloud has arisen between the friendships of the two young women; as far as Eleanor is concerned the cloud has a silver-fox lining."
What types of irony does Saki use in "Fur"?
Saki employs multiple layers of irony in "Fur":
- Situational irony — Suzanne's carefully laid plan to get a fur backfires completely. The very friend she recruited to help her ends up as the beneficiary, while Suzanne receives exactly the gift she dreaded — a fan.
- Dramatic irony — The reader can see Eleanor's revenge taking shape in real time during the conversation with Bertram, but Suzanne remains oblivious until the phone call days later.
- Verbal irony — The closing line about the cloud having "a silver-fox lining" is a wry play on "every cloud has a silver lining," turning a cliché into a pointed commentary on who actually benefits from the situation.
This layered use of irony is a hallmark of Saki's style, also on display in stories like Tobermory and The Storyteller.
Who are the main characters in "Fur"?
"Fur" has three main characters:
- Suzanne — A young woman whose birthday is approaching. She is materialistic, calculating, and ultimately self-defeating. She maintains a relationship with her wealthy cousin purely for the potential of expensive gifts, and her refusal to do even a small favor for Eleanor reveals the one-sided nature of her friendships.
- Eleanor — Suzanne's friend and the true schemer of the story. Initially she appears helpful and generous, devising the plan to steer Bertram to the fur department. But when Suzanne refuses her request, Eleanor proves herself far more cunning: she redirects Bertram's generosity toward herself with a convincing sob story.
- Bertram Kneyght — Suzanne's enormously wealthy distant cousin, recently arrived from Argentina. He is genuinely kind and generous but naive — easily influenced by whoever speaks to him last.
What literary devices does Saki use in "Fur"?
Saki uses several notable literary techniques in "Fur":
- Dialogue-driven narrative — Nearly the entire story unfolds through conversation. Saki reveals character and advances the plot almost entirely through what the women say to each other and to Bertram, with minimal narration.
- Foreshadowing — Eleanor's request for help with the bridge game, and Suzanne's blunt refusal, signals the turning point. The narrator notes that "the corners of her mouth rearranged themselves" — a subtle physical cue that Eleanor is forming a new plan.
- Situational and verbal irony — The entire plot is structured around ironic reversal, and the final line's "silver-fox lining" is a brilliant pun.
- Metaphor — The narrator compares Suzanne to "a parent rook encouraging its young ones on their first flying expedition" as she herds Bertram through the store, humorously contrasting her predatory scheming with maternal instinct.
Saki's economical, witty prose style is consistent across his best-known works, from Mrs. Packletide's Tiger to The Open Window.
What is the moral of "Fur" by Saki?
The central moral is that selfishness invites its own punishment. Suzanne treats both her cousin and her friend as instruments for acquiring what she wants, never considering their feelings or needs. When she refuses Eleanor's modest request — an evening of bridge — she reveals that her version of friendship runs in only one direction. Eleanor, recognizing this, exacts a perfectly calibrated revenge. The story suggests that people who exploit relationships without reciprocating will eventually encounter someone more skilled at the same game. It also carries an Oscar Wilde–like observation about Edwardian social life: beneath polished manners and cheerful conversation, people are quietly maneuvering for advantage.
When was "Fur" by Saki published?
"Fur" was first published in the Morning Post newspaper and was later collected in Saki's 1914 anthology Beasts and Super-Beasts, one of his most celebrated collections. The book appeared just months before the outbreak of World War I, in which Saki (born Hector Hugh Munro) would serve and ultimately die at the Battle of the Ancre in November 1916. Beasts and Super-Beasts also contains other well-known stories including The Open Window, Tobermory, and The Storyteller.
How does Eleanor manipulate Bertram in "Fur"?
Eleanor's manipulation is a masterclass in social engineering. While Suzanne rushes ahead through the department store, Eleanor stays behind with Bertram and executes a three-part strategy:
- She establishes the birthday topic — She mentions both her own and Suzanne's upcoming birthdays, prompting Bertram to ask for gift advice.
- She misdirects Bertram about Suzanne — She tells him Suzanne "seems to have everything" and suggests a fan, knowing full well that Suzanne already has "tons of fans" and specifically does not want one.
- She plants her own sob story — She tells Bertram about an uncle who once promised her a silver-fox stole but never delivered after his wife died, saying she can "scarcely look at a silver-fox pelt" without wanting to cry. This emotional appeal, combined with her apparent selflessness in helping him shop for Suzanne, makes Bertram want to be generous to Eleanor instead.
The brilliance is that Eleanor never directly asks for anything — she simply rearranges the information so that Bertram arrives at the "right" conclusion on his own.
How does "Fur" compare to other Saki stories?
"Fur" shares DNA with several of Saki's most famous works:
- Mrs. Packletide's Tiger — Both stories revolve around a woman's social ambitions backfiring spectacularly when a supposedly loyal companion exploits the situation. In "Mrs. Packletide's Tiger," Loona Bimberton's companion Miss Mebbin uses her knowledge of a secret to extract a cottage.
- The Open Window — Both feature a character who manipulates through storytelling. Eleanor's invented tale about the promised fur mirrors Vera's fabricated tragedy about the open window.
- Tobermory — Like "Fur," the story exposes the shallow self-interest lurking beneath polite Edwardian society.
- Dusk — Both explore how a convincing hard-luck story can be used to manipulate a listener's sympathy and generosity.
Across all these stories, Saki's signature formula is the same: witty setup, sharp social observation, and a devastating final twist.
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