The silver dial, volume 3 (of 3) — Themes and Context
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o recently been lifted from it. True enough Otto von Steinbach’s disastrous usurpation had left a fearsome chaos there; but out of it the hand of the master had brought back nearly all the old order; and not by any means the least diligent hands put forth to help him, were those which had compassed the confusion. Under discipline, as Dasipodius had said, Otto von Steinbach could do good work; and never as now had his heedless nature so schooled itself to fulfil the wishes of the reinstated master, and to obey even unmurmuringly the orders of Isaac Habrecht. Doubtless this was still more cheerfully done out of that sense of regained freedom. He found it inexpressibly enjoyable; and the lissomeness it lent his fingers, and perception it gave his brain, made a new creature of him.
That of course had been a terrible moment for him when he delivered up the studio key to Dasipodius, and all his bungling lay naked under the keen eye of the elder Habrecht, and the still more critical handling of Dasipodius; but the chief horologist silenced Isaac’s jeremiads.
“Nay, Isaac,” he said, laying his hand on Habrecht’s arm, “there is no time to spend in regrets. Here already we have St. Barnabas——”
“The Son of Consolation, as the gospels say,” murmured Kaspar.
“St. Barnabas day, and by the feast of St. Laurence, not quite two months hence remember, the Horologe has to be ready.”
“But it never can be so now!” exclaimed Isaac aghast. “You don’t dream of it, master.”
“That’s as it may be,” quietly laughed Dasipodius. “I know only that, God willing, it is my intention to have it finished.”
“But,” continued Isaac, “they don’t deserve any such thing of you. Not if we could do it ten times over.”
“If you will stand discussing the question, I tell you it will be hard enough to get through with it once. Come, are we to work together, or not?”
With a grunt Habrecht signified his assent; and then the task of the Horologe’s deliverance from durance proceeded in good earnest. Not so very long passed before it was restored to the state in which it had been left by Dasipodius, and the workers started afresh upon their fair field.
Content with Dasipodius’ promise that they should still have their Horologe by the date originally agreed upon, the Strassburgers went their several ways, as ardent now in their admiration as they had been eager three months since to hound him from their midst, and their faith in Tobias Hackernagel’s infallibility not a little shaken. The Syndic however, with lowered crest indeed, but not by any means extinguished, consoled himself in the reflection that his meddling had not brought on his devoted head loss of place or of emoluments, as it ran perilously near doing; and persuaded by some still small voice, that temporary self-effacement was the wisest course, retired into the bosom of his family, occasioning much disorganization there. The most eloquent voice of the municipality was now heard scarcely at all on the forensic platform, but so very much by the domestic hearth, that the servants groaned, and were given audibly to asking each other what a bear with a sore head might be like; and the mistresses languished cruelly under the paternal ill temper, sighing as never they had sighed before, for the laggard heroes who should come and carry them off from such wretched durance.
Naturally the one fortunate Andromeda who had found her Perseus, met with the worst time of it all; and many a sour taunt she endured for his sake, from the thwarted Syndic, who found it for certain far-seeing reasons of his own, more convenient to visit his vexation on the hopeless Gretchen than on the real delinquent. Hackernagel knew a hawk from a hernshaw; and perfectly well understood the girl’s power of dogged endurance.
Mary C. Rowsell’s prose in The Silver Dial, volume three, repeatedly turns on small, tangible objects—a key, a shrivelled plum, marchpane crumbs—to dramatize character and tension. In the opening chapter, Otto von Steinbach’s frantic search for a lost postern key becomes a comic yet anxious set piece, his hands fumbling through pockets and even shoes. The narrative voice shifts deftly between brisk action and wry commentary, as when Otto’s “feather head” is set against the bishop’s calm, pointed questions. These choices ground the historical clock-making plot in immediate, sensory detail.
Diction and the Texture of Daily Life
Rowsell’s diction mixes formal period markers with colloquial bursts. The narrator refers to “trunk hose,” “gossamer cambric handkerchief,” and “marchpane crumbs,” anchoring the story in 16th-century Strasbourg. Yet characters speak in exclamations like “Aller Teufel!” and “und so weiter,” blending German phrases into English dialogue. This hybrid vocabulary creates a textured, lived-in world without overloading the reader. The author also uses precise, almost tactile verbs: Otto “slaps himself all over,” “tears the pocket inside out,” and “collapses in despair.” Such physicality makes abstract anxiety concrete.
Dialogue as a Tool of Character and Comedy
The exchange between Otto and Bishop John exemplifies Rowsell’s ear for conversational rhythm. The bishop’s deliberate, gentle questioning—“By the way,” “About that key?”—contrasts with Otto’s stammering, fragmented replies: “What—wh—what key, my lord?” The bishop’s feigned ignorance and sudden reversal (“on second thoughts I do not want it”) create a comic tension that reveals Otto’s panic and the bishop’s subtle authority. Rowsell also uses reported speech for the gossiping women, whose “und so weiter” dismisses their chatter with a shrug. Dialogue thus serves both plot advancement and character revelation.
Description and the Horologe as Narrative Engine
The astronomical clock—the “Horologe”—is described not as a static marvel but as a site of labor and conflict. Rowsell emphasizes hands: “the hand of the master had brought back nearly all the old order,” and Otto’s “lissomeness it lent his fingers.” The clock’s deadline, “by the feast of St. Laurence,” drives the plot forward. Description here is functional, not ornamental; the chaos left by Otto’s “usurpation” is a physical mess that must be sorted. The author avoids lengthy technical exposition, instead focusing on the human effort and emotion surrounding the clock’s completion.
Structure and the Use of Chapter Epigraphs
Each chapter heading in this volume quotes a phrase or line, often from Shakespeare or proverbial sources: “So near, and yet so far away,” “Man proposes,” “Sweet is true Love.” These epigraphs serve as thematic anchors, hinting at the emotional arc of each chapter without summarizing it. The structure of the volume itself—moving from “The Horologe” to “Finis Coronat” to “To the End”—suggests a deliberate narrative shape, though the excerpts only reveal fragments. Rowsell’s choice to frame chapters with borrowed lines invites readers to consider how the story echoes or subverts those familiar words.
Readers attentive to Rowsell’s craft will notice how she balances historical detail with human comedy. The lost key, the bishop’s teasing, and Otto’s gooseflesh are not mere padding but deliberate choices that make the clock’s ticking felt in every scene. Approach this volume as a study in how small, precise observations—a crumb, a key, a stammer—can build a world as intricate as the dial itself.
Years apart on my shelf, yet The Silver Dial’s Strasbourg clockmakers and Tom Swift and His Aerial Warship; Or, The Naval Terror of the Seas — Background and Themes share a patient hush—the wonder of gears and struts answering a young person’s quiet dreaming. I’ve held both, noting how each inventor’s work becomes a private prayer for order. Nothing more needs saying.
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