The Wolves of Cernogratz


The Wolves of Cernogatz (1914) is a chilling tale of an old governess who claims that wolves howl from the castle hills whenever a member of the noble Dorlach family is about to die. "The old woman was dying, and they howled."
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"Are they any old legends attached to the castle?" asked Conrad of his sister. Conrad was a prosperous Hamburg merchant, but he was the one poetically-dispositioned member of an eminently practical family.

The Baroness Gruebel shrugged her plump shoulders.

"There are always legends hanging about these old places. They are not difficult to invent and they cost nothing. In this case there is a story that when any one dies in the castle all the dogs in the village and the wild beasts in forest howl the night long. It would not be pleasant to listen to, would it?"

"It would be weird and romantic," said the Hamburg merchant.

"Anyhow, it isn't true," said the Baroness complacently; "since we bought the place we have had proof that nothing of the sort happens. When the old mother-in-law died last springtime we all listened, but there was no howling. It is just a story that lends dignity to the place without costing anything."

"The story is not as you have told it," said Amalie, the grey old governess. Every one turned and looked at her in astonishment. She was wont to sit silent and prim and faded in her place at table, never speaking unless some one spoke to her, and there were few who troubled themselves to make conversation with her. To-day a sudden volubility had descended on her; she continued to talk, rapidly and nervously, looking straight in front of her and seeming to address no one in particular.

"It is not when any one dies in the castle that the howling is heard. It was when one of the Cernogratz family died here that the wolves came from far and near and howled at the edge of the forest just before the death hour. There were only a few couple of wolves that had their lairs in this part of the forest, but at such a time the keepers say there would be scores of them, gliding about in the shadows and howling in chorus, and the dogs of the castle and the village and all the farms round would bay and howl in fear and anger at the wolf chorus, and as the soul of the dying one left its body a tree would crash down in the park. That is what happened when a Cernogratz died in his family castle. But for a stranger dying here, of course no wolf would howl and no tree would fall. Oh, no."

There was a note of defiance, almost of contempt, in her voice as she said the last words. The well-fed, much-too-well dressed Baroness stared angrily at the dowdy old woman who had come forth from her usual and seemly position of effacement to speak so disrespectfully.

"You seem to know quite a lot about the von Cernogratz legends, Fraulein Schmidt," she said sharply; "I did not know that family histories were among the subjects you are supposed to be proficient in."

The answer to her taunt was even more unexpected and astonishing than the conversational outbreak which had provoked it.

"I am a von Cernogratz myself," said the old woman, "that is why I know the family history."

"You a von Cernogratz? You!" came in an incredulous chorus.

"When we became very poor," she explained, "and I had to go out and give teaching lessons, I took another name; I thought it would be more in keeping. But my grandfather spent much of his time as a boy in this castle, and my father used to tell me many stories about it, and, of course, I knew all the family legends and stories. When one has nothing left to one but memories, one guards and dusts them with especial care. I little thought when I took service with you that I should one day come with you to the old home of my family. I could wish it had been anywhere else."

There was silence when she finished speaking, and then the Baroness turned the conversation to a less embarrassing topic than family histories. But afterwards, when the old governess had slipped away quietly to her duties, there arose a clamour of derision and disbelief.

"It was an impertinence," snapped out the Baron, his protruding eyes taking on a scandalised expression; "fancy the woman talking like that at our table. She almost told us we were nobodies, and I don't believe a word of it. She is just Schmidt and nothing more. She has been talking to some of the peasants about the old Cernogratz family, and raked up their history and their stories."

"She wants to make herself out of some consequence," said the Baroness; "she knows she will soon be past work and she wants to appeal to our sympathies. Her grandfather, indeed!"

The Baroness had the usual number of grandfathers, but she never, never boasted about them.

"I dare say her grandfather was a pantry boy or something of the sort in the castle," sniggered the Baron; "that part of the story may be true."

The merchant from Hamburg said nothing; he had seen tears in the old woman's eyes when she spoke of guarding her memories--or, being of an imaginative disposition, he thought he had.

"I shall give her notice to go as soon as the New Year festivities are over," said the Baroness; "till then I shall be too busy to manage without her."

But she had to manage without her all the same, for in the cold biting weather after Christmas, the old governess fell ill and kept to her room.

"It is most provoking," said the Baroness, as her guests sat round the fire on one of the last evenings of the dying year; "all the time that she has been with us I cannot remember that she was ever seriously ill, too ill to go about and do her work, I mean. And now, when I have the house full, and she could be useful in so many ways, she goes and breaks down. One is sorry for her, of course, she looks so withered and shrunken, but it is intensely annoying all the same."

"Most annoying," agreed the banker's wife, sympathetically; "it is the intense cold, I expect, it breaks the old people up. It has been unusually cold this year."

"The frost is the sharpest that has been known in December for many years," said the Baron.

"And, of course, she is quite old," said the Baroness; "I wish I had given her notice some weeks ago, then she would have left before this happened to her. Why, Wappi, what is the matter with you?"

The small, woolly lapdog had leapt suddenly down from its cushion and crept shivering under the sofa. At the same moment an outburst of angry barking came from the dogs in the castle-yard, and other dogs could be heard yapping and barking in the distance.

"What is disturbing the animals?" asked the Baron.

And then the humans, listening intently, heard the sound that had roused the dogs to their demonstrations of fear and rage; heard a long-drawn whining howl, rising and falling, seeming at one moment leagues away, at others sweeping across the snow until it appeared to come from the foot of the castle walls. All the starved, cold misery of a frozen world, all the relentless hunger-fury of the wild, blended with other forlorn and haunting melodies to which one could give no name, seemed concentrated in that wailing cry.

"Wolves!" cried the Baron.

Their music broke forth in one raging burst, seeming to come from everywhere.

"Hundreds of wolves," said the Hamburg merchant, who was a man of strong imagination.

Moved by some impulse which she could not have explained, the Baroness left her guests and made her way to the narrow, cheerless room where the old governess lay watching the hours of the drying year slip by. In spite of the biting cold of the winter night, the window stood open. With a scandalised exclamation on her lips, the Baroness rushed forward to close it.

"Leave it open," said the old woman in a voice that for all its weakness carried an air of command such as the Baroness had never heard before from her lips.

"But you will die of cold!" she expostulated.

"I am dying in any case," said the voice, "and I want to hear their music. They have come from far and wide to sing the death-music of my family. It is beautiful that they have come; I am the last von Cernogratz that will die in our old castle, and they have come to sing to me. Hark, how loud they are calling!"

The cry of the wolves rose on the still winter air and floated round the castle walls in long-drawn piercing wails; the old woman lay back on her couch with a look of long-delayed happiness on her face.

"Go away," she said to the Baroness; "I am not lonely any more. I am one of a great old family . . . "

"I think she is dying," said the Baroness when she had rejoined her guests; "I suppose we must send for a doctor. And that terrible howling! Not for much money would I have such death-music."

"That music is not to be bought for any amount of money," said Conrad.

"Hark! What is that other sound?" asked the Baron, as a noise of splitting and crashing was heard.

It was a tree falling in the park.

There was a moment of constrained silence, and then the banker's wife spoke.

"It is the intense cold that is splitting the trees. It is also the cold that has brought the wolves out in such numbers. It is many years since we have had such a cold winter."

The Baroness eagerly agreed that the cold was responsible for these things. It was the cold of the open window, too, which caused the heart failure that made the doctor's ministrations unnecessary for the old Fraulein. But the notice in the newspapers looked very well--

"On December 29th, at Schloss Cernogratz, Amalie von Cernogratz, for many years the valued friend of Baron and Baroness Gruebel."


The Wolves of Cernogratz was featured as The Short Story of the Day on Thu, Sep 29, 2016

Frequently Asked Questions

What is "The Wolves of Cernogatz" by Saki about?

"The Wolves of Cernogatz" tells the story of a family legend surrounding Schloss Cernogratz, a castle now owned by the wealthy but unimaginative Baron and Baroness Gruebel. According to legend, whenever a member of the original von Cernogratz family dies in the castle, wolves gather from miles around to howl at the forest's edge, and a tree crashes down in the park at the moment of death. The story's quiet revelation comes when the elderly governess, Amalie, announces she is a von Cernogratz who took another name when poverty forced her into service. When she falls ill and lies dying on a bitter December night, wolves are heard howling around the castle walls, the dogs bark in terror, and a tree splits and falls in the park — fulfilling the legend the Baroness had dismissed as worthless folklore.

What are the main themes of "The Wolves of Cernogatz"?

The central theme of "The Wolves of Cernogatz" is family heritage and identity — Amalie has lost everything material but fiercely guards her family's memories and legends, finding her deepest sense of self in her Cernogratz lineage. A second major theme is the tension between skepticism and the supernatural: the Baroness represents rational dismissal of old legends, yet the wolves and the falling tree vindicate Amalie's belief. The story also examines class and social status, contrasting the newly rich Gruebels, who own the castle but lack its history, with Amalie, who possesses the heritage but not the wealth. Finally, Saki explores isolation and belonging — Amalie's dying words, "I am not lonely any more. I am one of a great old family," show that the supernatural confirmation of her identity restores the connection she had lost.

What is the significance of the wolves in the story?

The wolves serve multiple symbolic functions in Saki's story. On the literal level, they are the proof that the Cernogratz legend is true — their howling confirms that Amalie is genuinely the last von Cernogratz, not an impostor inventing a noble past. Symbolically, the wolves represent the wild, untameable force of ancestral heritage that the Gruebels's money and social position cannot buy or control. Their "death-music" also transforms Amalie's lonely, impoverished dying into something majestic and ceremonial. The Baroness and the banker's wife desperately attribute the howling to the intense cold, but Conrad, the one "poetically-dispositioned" character, recognizes its true worth: "That music is not to be bought for any amount of money." The wolves thus become a test of character, separating those who can perceive something beyond material reality from those who cannot.

Who is the character Amalie in "The Wolves of Cernogatz"?

Amalie (Fraulein Schmidt) is the elderly governess employed by the Gruebel family at Schloss Cernogratz. She is described as "grey," "silent and prim and faded," a woman who normally speaks only when spoken to. Her startling revelation — that she is actually Amalie von Cernogratz — is the story's turning point. When her family lost its fortune, she took the surname Schmidt and went into domestic service, never expecting to end up in her own ancestral home. Her character embodies the theme of hidden nobility: outwardly a powerless servant, she carries within her the entire weight of the Cernogratz legacy. Her death notice in the newspapers — "Amalie von Cernogratz, for many years the valued friend of Baron and Baroness Gruebel" — is Saki's final ironic touch, since the Baroness had been planning to dismiss her.

What role does irony play in "The Wolves of Cernogatz"?

Irony is woven through every layer of the story. The most prominent form is dramatic irony: the Baroness dismisses the wolf legend as a cheap decoration that "lends dignity to the place without costing anything," never suspecting that the quiet governess sitting at her table is the one person who could activate it. There is also situational irony in the fact that the Gruebels bought the castle for its aristocratic prestige, yet the real aristocrat in their household is the servant they plan to fire. The death notice at the end — calling Amalie "the valued friend of Baron and Baroness Gruebel" — is bitterly ironic, since the Baroness had resolved to give her notice and viewed her illness mainly as an inconvenience. This layered irony is characteristic of Saki, who uses a similar technique in stories like The Open Window, where surface appearances conceal a very different reality.

How does "The Wolves of Cernogatz" compare to other Saki stories?

"The Wolves of Cernogatz" is unusual in Saki's body of work because it is one of his most sincerely emotional stories, lacking the comic punchline that defines tales like The Open Window. It shares the supernatural element found in Gabriel-Ernest, where a young man appears to be a werewolf, and the nature-versus-civilization conflict of The Interlopers, where wolves also deliver the final judgment. However, while "The Interlopers" ends with horror and "Gabriel-Ernest" with dark ambiguity, "The Wolves of Cernogatz" ends with something closer to tragic beauty — the old woman achieves a kind of triumph in death. The story's bite comes from its social satire of the Gruebels rather than from a twist ending.

What is the significance of the falling tree in "The Wolves of Cernogatz"?

The falling tree is the second half of the Cernogratz death legend — according to Amalie, "as the soul of the dying one left its body a tree would crash down in the park." When the guests hear "a noise of splitting and crashing" and learn that a tree has indeed fallen, it provides the final, undeniable confirmation that the supernatural legend is real and that Amalie was telling the truth about her identity. The banker's wife immediately offers a rational explanation — "It is the intense cold that is splitting the trees" — and the Baroness "eagerly" agrees, showing how the practical-minded characters cling to materialism even when confronted with evidence they cannot truly explain. The tree's fall also symbolizes the end of the Cernogratz line: Amalie is the last of her family, and her death marks the final severing of the ancestral connection to the castle.

What is the setting of "The Wolves of Cernogatz" and why does it matter?

The story is set in Schloss Cernogratz, a castle in a forested, presumably Central European region during the bitter cold of late December. The setting is essential because the castle itself is the contested object — the Gruebels own its walls, but Amalie owns its history. The harsh winter serves a dual purpose: it provides the rationalists with a convenient explanation for the wolves and the falling tree, while also creating the atmospheric conditions for a Gothic tale of death and ancestral spirits. The timing at the year's end, during "New Year festivities," adds symbolic weight — one era is ending as Amalie, the last Cernogratz, dies. The contrast between the warm fireside gathering of well-fed guests and the "narrow, cheerless room" where the governess lies dying underscores the story's class tensions.

Who is Conrad in "The Wolves of Cernogatz" and what role does he play?

Conrad is the Baroness's brother, described as "a prosperous Hamburg merchant" and "the one poetically-dispositioned member of an eminently practical family." He serves as the story's moral compass and a bridge between the skeptical Gruebels and the mystical truth of the legend. He is the one who notices tears in Amalie's eyes when she speaks of guarding her memories, and when the wolves howl, he delivers the story's most resonant line: "That music is not to be bought for any amount of money." While the Baron scoffs, the Baroness schemes, and the banker's wife rationalizes, Conrad alone has the imaginative sympathy to appreciate what is happening. Saki uses him to suggest that wealth and sensitivity are not incompatible — the failure lies specifically in the Gruebels' smug materialism, not in prosperity itself.

Is "The Wolves of Cernogatz" a true supernatural story or is there a rational explanation?

Saki deliberately leaves the question open, but the weight of the narrative strongly favors the supernatural reading. The banker's wife offers rational explanations — the cold brought the wolves, the frost split the tree — and the Baroness attributes Amalie's death to the chill from the open window. However, these explanations require multiple coincidences to align perfectly with every detail of the ancient legend. The story's structure rewards the reader who believes Amalie: her earlier claim is vindicated point by point, and the characters who dismiss the legend are portrayed as shallow and self-serving. This technique of ambiguity with a clear tilt is one Saki also uses in Gabriel-Ernest, where every supernatural event has a possible natural explanation that the narrative subtly discredits. The reader is free to choose, but the story rewards belief.

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