The Lumber Room


The Lumber Room (1914) is one of Saki's most beloved stories, in which a clever boy named Nicholas outwits his oppressive aunt by engineering his own confinement — and discovers a treasure trove of wonders in the forbidden lumber room. "Often and often Nicholas had pictured to himself what the lumber room might be like."
Author H.H. Munro (SAKI)

The children were to be driven, as a special treat, to the sands at Jagborough. Nicholas was not to be of the party; he was in disgrace. Only that morning he had refused to eat his wholesome bread-and-milk on the seemingly frivolous ground that there was a frog in it. Older and wiser and better people had told him that there could not possibly be a frog in his bread-and-milk and that he was not to talk nonsense; he continued, nevertheless, to talk what seemed the veriest nonsense, and described with much detail the colouration and markings of the alleged frog. The dramatic part of the incident was that there really was a frog in Nicholas' basin of bread-and-milk; he had put it there himself, so he felt entitled to know something about it. The sin of taking a frog from the garden and putting it into a bowl of wholesome bread-and-milk was enlarged on at great length, but the fact that stood out clearest in the whole affair, as it presented itself to the mind of Nicholas, was that the older, wiser, and better people had been proved to be profoundly in error in matters about which they had expressed the utmost assurance.

"You said there couldn't possibly be a frog in my bread-and-milk; there was a frog in my bread-and-milk," he repeated, with the insistence of a skilled tactician who does not intend to shift from favourable ground.

So his boy-cousin and girl-cousin and his quite uninteresting younger brother were to be taken to Jagborough sands that afternoon and he was to stay at home. His cousins' aunt, who insisted, by an unwarranted stretch of imagination, in styling herself his aunt also, had hastily invented the Jagborough expedition in order to impress on Nicholas the delights that he had justly forfeited by his disgraceful conduct at the breakfast-table. It was her habit, whenever one of the children fell from grace, to improvise something of a festival nature from which the offender would be rigorously debarred; if all the children sinned collectively they were suddenly informed of a circus in a neighbouring town, a circus of unrivalled merit and uncounted elephants, to which, but for their depravity, they would have been taken that very day.

A few decent tears were looked for on the part of Nicholas when the moment for the departure of the expedition arrived. As a matter of fact, however, all the crying was done by his girl-cousin, who scraped her knee rather painfully against the step of the carriage as she was scrambling in.

"How she did howl," said Nicholas cheerfully, as the party drove off without any of the elation of high spirits that should have characterised it.

"She'll soon get over that," said the soi-disant aunt; "it will be a glorious afternoon for racing about over those beautiful sands. How they will enjoy themselves!"

"Bobby won't enjoy himself much, and he won't race much either," said Nicholas with a grim chuckle; his boots are hurting him. They're too tight."

"Why didn't he tell me they were hurting?" asked the aunt with some asperity.

"He told you twice, but you weren't listening. You often don't listen when we tell you important things."

"You are not to go into the gooseberry garden," said the aunt, changing the subject.

"Why not?" demanded Nicholas.

"Because you are in disgrace," said the aunt loftily.

Nicholas did not admit the flawlessness of the reasoning; he felt perfectly capable of being in disgrace and in a gooseberry garden at the same moment. His face took on an expression of considerable obstinacy. It was clear to his aunt that he was determined to get into the gooseberry garden, "only," as she remarked to herself, "because I have told him he is not to."

Now the gooseberry garden had two doors by which it might be entered, and once a small person like Nicholas could slip in there he could effectually disappear from view amid the masking growth of artichokes, raspberry canes, and fruit bushes. The aunt had many other things to do that afternoon, but she spent an hour or two in trivial gardening operations among flower beds and shrubberies, whence she could keep a watchful eye on the two doors that led to the forbidden paradise. She was a woman of few ideas, with immense powers of concentration.

Nicholas made one or two sorties into the front garden, wriggling his way with obvious stealth of purpose towards one or other of the doors, but never able for a moment to evade the aunt's watchful eye. As a matter of fact, he had no intention of trying to get into the gooseberry garden, but it was extremely convenient for him that his aunt should believe that he had; it was a belief that would keep her on self-imposed sentry-duty for the greater part of the afternoon. Having thoroughly confirmed and fortified her suspicions Nicholas slipped back into the house and rapidly put into execution a plan of action that had long germinated in his brain. By standing on a chair in the library one could reach a shelf on which reposed a fat, important-looking key. The key was as important as it looked; it was the instrument which kept the mysteries of the lumber-room secure from unauthorised intrusion, which opened a way only for aunts and such-like privileged persons. Nicholas had not had much experience of the art of fitting keys into keyholes and turning locks, but for some days past he had practised with the key of the schoolroom door; he did not believe in trusting too much to luck and accident. The key turned stiffly in the lock, but it turned. The door opened, and Nicholas was in an unknown land, compared with which the gooseberry garden was a stale delight, a mere material pleasure.

Often and often Nicholas had pictured to himself what the lumber-room might be like, that region that was so carefully sealed from youthful eyes and concerning which no questions were ever answered. It came up to his expectations. In the first place it was large and dimly lit, one high window opening on to the forbidden garden being its only source of illumination. In the second place it was a storehouse of unimagined treasures. The aunt-by-assertion was one of those people who think that things spoil by use and consign them to dust and damp by way of preserving them. Such parts of the house as Nicholas knew best were rather bare and cheerless, but here there were wonderful things for the eye to feast on. First and foremost there was a piece of framed tapestry that was evidently meant to be a fire-screen. To Nicholas it was a living, breathing story; he sat down on a roll of Indian hangings, glowing in wonderful colours beneath a layer of dust, and took in all the details of the tapestry picture. A man, dressed in the hunting costume of some remote period, had just transfixed a stag with an arrow; it could not have been a difficult shot because the stag was only one or two paces away from him; in the thickly-growing vegetation that the picture suggested it would not have been difficult to creep up to a feeding stag, and the two spotted dogs that were springing forward to join in the chase had evidently been trained to keep to heel till the arrow was discharged. That part of the picture was simple, if interesting, but did the huntsman see, what Nicholas saw, that four galloping wolves were coming in his direction through the wood? There might be more than four of them hidden behind the trees, and in any case would the man and his dogs be able to cope with the four wolves if they made an attack? The man had only two arrows left in his quiver, and he might miss with one or both of them; all one knew about his skill in shooting was that he could hit a large stag at a ridiculously short range. Nicholas sat for many golden minutes revolving the possibilities of the scene; he was inclined to think that there were more than four wolves and that the man and his dogs were in a tight corner.

But there were other objects of delight and interest claiming his instant attention: there were quaint twisted candlesticks in the shape of snakes, and a teapot fashioned like a china duck, out of whose open beak the tea was supposed to come. How dull and shapeless the nursery teapot seemed in comparison! And there was a carved sandal-wood box packed tight with aromatic cottonwool, and between the layers of cottonwool were little brass figures, hump-necked bulls, and peacocks and goblins, delightful to see and to handle. Less promising in appearance was a large square book with plain black covers; Nicholas peeped into it, and, behold, it was full of coloured pictures of birds. And such birds! In the garden, and in the lanes when he went for a walk, Nicholas came across a few birds, of which the largest were an occasional magpie or wood-pigeon; here were herons and bustards, kites, toucans, tiger-bitterns, brush turkeys, ibises, golden pheasants, a whole portrait gallery of undreamed-of creatures. And as he was admiring the colouring of the mandarin duck and assigning a life-history to it, the voice of his aunt in shrill vociferation of his name came from the gooseberry garden without. She had grown suspicious at his long disappearance, and had leapt to the conclusion that he had climbed over the wall behind the sheltering screen of the lilac bushes; she was now engaged in energetic and rather hopeless search for him among the artichokes and raspberry canes.

"Nicholas, Nicholas!" she screamed, "you are to come out of this at once. It's no use trying to hide there; I can see you all the time."

It was probably the first time for twenty years that anyone had smiled in that lumber-room.

Presently the angry repetitions of Nicholas' name gave way to a shriek, and a cry for somebody to come quickly. Nicholas shut the book, restored it carefully to its place in a corner, and shook some dust from a neighbouring pile of newspapers over it. Then he crept from the room, locked the door, and replaced the key exactly where he had found it. His aunt was still calling his name when he sauntered into the front garden.

"Who's calling?" he asked.

"Me," came the answer from the other side of the wall; "didn't you hear me? I've been looking for you in the gooseberry garden, and I've slipped into the rain-water tank. Luckily there's no water in it, but the sides are slippery and I can't get out. Fetch the little ladder from under the cherry tree - "

"I was told I wasn't to go into the gooseberry garden," said Nicholas promptly.

"I told you not to, and now I tell you that you may," came the voice from the rain-water tank, rather impatiently.

"Your voice doesn't sound like aunt's," objected Nicholas; "you may be the Evil One tempting me to be disobedient. Aunt often tells me that the Evil One tempts me and that I always yield. This time I'm not going to yield."

"Don't talk nonsense," said the prisoner in the tank; "go and fetch the ladder."

"Will there be strawberry jam for tea?" asked Nicholas innocently.

"Certainly there will be," said the aunt, privately resolving that Nicholas should have none of it.

"Now I know that you are the Evil One and not aunt," shouted Nicholas gleefully; "when we asked aunt for strawberry jam yesterday she said there wasn't any. I know there are four jars of it in the store cupboard, because I looked, and of course you know it's there, but she doesn't, because she said there wasn't any. Oh, Devil, you have sold yourself!"

There was an unusual sense of luxury in being able to talk to an aunt as though one was talking to the Evil One, but Nicholas knew, with childish discernment, that such luxuries were not to be over-indulged in. He walked noisily away, and it was a kitchenmaid, in search of parsley, who eventually rescued the aunt from the rain-water tank.

Tea that evening was partaken of in a fearsome silence. The tide had been at its highest when the children had arrived at Jagborough Cove, so there had been no sands to play on - a circumstance that the aunt had overlooked in the haste of organising her punitive expedition. The tightness of Bobby's boots had had disastrous effect on his temper the whole of the afternoon, and altogether the children could not have been said to have enjoyed themselves. The aunt maintained the frozen muteness of one who has suffered undignified and unmerited detention in a rain-water tank for thirty-five minutes. As for Nicholas, he, too, was silent, in the absorption of one who has much to think about; it was just possible, he considered, that the huntsman would escape with his hounds while the wolves feasted on the stricken stag.


The Lumber Room was featured as The Short Story of the Day on Mon, May 01, 2017

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Frequently Asked Questions about The Lumber Room

What is "The Lumber Room" by Saki about?

"The Lumber Room" by Saki (H.H. Munro) tells the story of young Nicholas, a clever and imaginative boy who is punished by his strict aunt for putting a frog in his bread-and-milk at breakfast. While his cousins are taken on a supposedly fun trip to Jagborough sands, Nicholas stays behind and executes a plan he has been devising for days. He tricks his aunt into standing guard over the gooseberry garden—making her believe he wants to sneak in—while he slips into the forbidden lumber room, a locked storeroom filled with extraordinary treasures: a vivid hunting tapestry, snake-shaped candlesticks, a duck-shaped teapot, and a book of brilliantly illustrated birds. Meanwhile, the aunt falls into an empty rain-water tank in the garden, and Nicholas refuses to rescue her by pretending she might be the Evil One in disguise. The cousins' outing is a disaster, and the evening ends with the aunt humiliated and Nicholas silently triumphant.

What are the main themes of "The Lumber Room"?

The central themes of "The Lumber Room" include:

  • Authority vs. Rebellion — The aunt represents rigid, authoritarian adult control, while Nicholas embodies the child's instinct to resist and subvert unjust rules. His quiet defiance exposes the limits of her power.
  • Imagination vs. Dullness — The lumber room, filled with vivid art and curious objects, represents the rich inner world of a child's imagination. The aunt's cheerless, bare household symbolizes the stifling dullness of her worldview.
  • Hypocrisy — The aunt claims moral superiority but is repeatedly exposed as dishonest (denying the existence of strawberry jam) and foolish (falling into her own trap).
  • Irony — The "punished" child has the best afternoon, while the "rewarded" children have a miserable outing. The aunt, who stood guard to prevent Nicholas from entering the gooseberry garden, ends up trapped there herself.

These themes recur across Saki's fiction, notably in "Sredni Vashtar" and "The Storyteller," both of which pit resourceful children against oppressive guardians.

What is the significance of the lumber room in the story?

The lumber room functions as a powerful symbol of imagination, beauty, and forbidden knowledge. The aunt locks it away because she believes "things spoil by use," consigning beautiful objects to dust and darkness rather than letting anyone enjoy them. This mirrors her approach to the children themselves—suppressing their curiosity and vitality rather than nurturing it.

For Nicholas, the lumber room is a revelation: a "storehouse of unimagined treasures" that contrasts sharply with the "bare and cheerless" rooms he normally inhabits. The hunting tapestry, with its wolves closing in on the unsuspecting huntsman, becomes a living narrative in Nicholas's mind—evidence that his imagination can transform a dusty storeroom into a world of adventure. The room symbolizes everything the adult world tries to suppress in children: wonder, curiosity, and the capacity to see stories everywhere.

What literary devices does Saki use in "The Lumber Room"?

Saki employs several literary devices in "The Lumber Room":

  • Situational Irony — The story is built on reversals. The aunt punishes Nicholas by excluding him from the trip, but the trip is miserable and Nicholas has a wonderful time. She guards the gooseberry garden to keep him out, but she is the one who becomes trapped there.
  • Satire — Saki satirizes the Victorian-Edwardian expectation that children should obey adults without question. The aunt is portrayed as a "woman of few ideas, with immense powers of concentration"—a devastating one-line character sketch.
  • Imagery — The tapestry scene is richly descriptive: a huntsman, a stricken stag, spotted dogs, and four galloping wolves. Nicholas animates this still image into a suspenseful narrative.
  • Dramatic Irony — The reader knows Nicholas has no interest in the gooseberry garden, but the aunt does not. Her self-imposed "sentry duty" is entirely pointless.
  • The Unreliable Designation — Saki pointedly calls the aunt "the aunt-by-assertion" and the soi-disant (self-styled) aunt, undermining her authority through language itself.

Who is Nicholas in "The Lumber Room" and what makes him a typical Saki protagonist?

Nicholas is a young boy—clever, resourceful, and quietly subversive—who outwits his strict aunt at every turn. He is a quintessential Saki protagonist: a child whose intelligence far exceeds the adults around him and who uses strategic thinking rather than brute rebellion. He plants the frog in his own bread-and-milk to prove the adults wrong, he feigns interest in the gooseberry garden to keep his aunt occupied, and he has secretly practiced with a key to prepare for his raid on the lumber room.

Nicholas belongs to a lineage of brilliant Saki children that includes Dorit in "The Open Window," the unnamed girl in "The Storyteller," and Conradin in "Sredni Vashtar." All share his gift for seeing through adult pretension and turning the rules against their makers.

What role does the aunt play in "The Lumber Room"?

The aunt—referred to pointedly as the "aunt-by-assertion" and the soi-disant (self-styled) aunt—serves as the story's antagonist and the embodiment of misguided adult authority. Saki describes her as "a woman of few ideas, with immense powers of concentration," a phrase that captures both her determination and her intellectual limitations.

She controls the household through punishment and prohibition: withholding treats, banning access to the garden, and locking away beautiful objects in the lumber room rather than letting anyone enjoy them. Her punishments consistently backfire. The trip to Jagborough she organizes as a reward for the "good" children is a failure—the tide is high, there are no sands, and Bobby's boots hurt. Her surveillance of the gooseberry garden is a waste of time. And her ultimate humiliation—falling into the rain-water tank—completes her reversal from authority figure to helpless prisoner. The aunt is closely related to the oppressive guardian figures in "Sredni Vashtar" and "The Schartz-Metterklume Method."

What is the significance of the tapestry in "The Lumber Room"?

The tapestry is the centerpiece of Nicholas's discovery in the lumber room and the passage that most vividly demonstrates his imaginative power. It depicts a huntsman who has just killed a stag with an arrow, accompanied by two spotted dogs—but four wolves are approaching through the trees, unseen by the hunter. Nicholas transforms this static image into a living narrative, spending "many golden minutes revolving the possibilities of the scene." He reasons that the man has only two arrows left, that his aim may not be reliable (he shot the stag at "ridiculously short range"), and that there might be more wolves hidden behind the trees.

The tapestry mirrors the story's own structure: the aunt, like the huntsman, is focused on one thing (keeping Nicholas out of the garden) while a greater threat (Nicholas's actual plan) approaches unnoticed. Nicholas's final thought—that perhaps the huntsman could escape while the wolves feasted on the stag—echoes his own successful strategy of offering a diversion while achieving his real objective.

What is the "Evil One" scene in "The Lumber Room" and why is it important?

When the aunt falls into the empty rain-water tank in the gooseberry garden and calls for help, Nicholas refuses to rescue her by deploying a brilliant piece of logic against her own teachings. He claims her voice "doesn't sound like aunt's" and suggests she might be "the Evil One" tempting him to disobey—since the aunt herself has frequently warned him that the Devil tempts him.

When the aunt promises strawberry jam for tea, Nicholas springs his trap: "Now I know that you are the Evil One and not aunt," he says, because "when we asked aunt for strawberry jam yesterday she said there wasn't any. I know there are four jars of it in the store cupboard." This scene is important because it exposes the aunt's habitual dishonesty—she lied about the jam just as she was wrong about the frog—and it shows Nicholas weaponizing her own moral framework against her. There is, as Saki notes, "an unusual sense of luxury in being able to talk to an aunt as though one was talking to the Evil One."

How does "The Lumber Room" reflect Saki's own childhood?

H.H. Munro (Saki) was born in Burma in 1870, and after his mother's death when he was two, he and his siblings were sent to England to be raised by their grandmother and two strict aunts, Augusta and Charlotte. Munro later described their upbringing as oppressive and joyless, and the experience left a deep mark on his fiction.

"The Lumber Room" is widely considered one of Saki's most autobiographical stories. The "aunt-by-assertion" who insists on controlling every aspect of the children's lives closely mirrors Munro's own aunts. The theme of a clever child finding beauty and wonder in spite of—and in defiance of—a repressive guardian appears throughout his work, most notably in "Sredni Vashtar," where the stakes are far darker. The story was first published in the Morning Post and later collected in Beasts and Super-Beasts (1914), two years before Munro was killed at the Battle of the Ancre in World War I.

How does "The Lumber Room" compare to other Saki stories about children and adults?

Saki returned repeatedly to the theme of clever children triumphing over foolish or oppressive adults. "The Lumber Room" sits at the center of this tradition:

  • "The Open Window" — Vera, a fifteen-year-old, fabricates an elaborate ghost story that sends an anxious visitor fleeing in terror. Like Nicholas, she exploits adult credulity with devastating skill.
  • "The Storyteller" — A bachelor on a train tells children a story that subverts conventional morality, delighting them and horrifying their aunt. The aunt here, as in "The Lumber Room," represents a sterile moral worldview that fails to engage children.
  • "Sredni Vashtar" — The darkest entry in this group. Conradin, a sickly boy, prays to a ferret-god to destroy his oppressive guardian—and the prayer is answered.
  • "The Toys of Peace" — An uncle's attempt to give children "constructive" toys backfires spectacularly when the boys turn model civic buildings into a siege warfare scenario.

Readers who enjoy the child-versus-adult dynamic may also appreciate Oscar Wilde's fairy tales and the subversive children's fiction of Roald Dahl.

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