The Japanese Quince

“Resuming some meditations on the price of Tintos, he took up an ivory-backed hand-glass and scrutinised his face.”

The careful diction in this sentence invites the reader to reflect on how Nilson views the world. He “meditates” on stock prices, which suggests that the world of money is a kind of spiritual replacement for him. The reference to “Tintos” is obscure, but it almost certainly refers to stock in a mining company, as seen in a quote from a contemporary journal, published just two years after “The Japanese Quince”: “Tintos have been a good market, and some big transactions have been done. […] The millionaire loves to gamble in Tintos” (Radclyffe, Raymond. “In the Temple of Mammon.” The Academy and Literature, 15 June 1912, p. 767).

“He had them to himself, and proceeded to pace the circular path with his morning paper clasped behind him.”

The newspaper is an ever-present prop in the story as Nilson carries it with him on his walk. It is “clasped” behind him, which suggests the intensity with which he holds onto all that the paper represents. The newspaper is Nilson’s portal on the world, giving him information about stock prices and political developments. Even as he walks in the garden, inhaling the fresh air, and admiring the beauty of the tree, Nilson is carrying his world with him, tightly clasped at his back.

“He was on the point of resuming his promenade, when a blackbird close by burst into song, and, looking up, Mr. Nilson saw at a distance of perhaps five yards a little tree, in the heart of whose branches the bird was perched.”

The surprise of what happens to Nilson in the garden is emphasized in this passage. Nilson is ready to resume his walk, just as he resumes every routine of his life in a mechanical way when the blackbird intervenes. The proximity of the bird (“close by”) and the tree (“five yards” away) suggests that the possibility of a different life is present and available if Nilson would open his eyes and heart.

“Mr. Nilson smiled; the little tree was so alive and pretty! And instead of passing on, he stayed there smiling at the tree.”

Time seems to stand still for Nilson once he has been shaken out of his routine. Normally, his life is governed by predictable patterns—the daily newspaper, the cuckoo clock striking eight, the revolutions in the garden. At this moment, he seems to be on the threshold of an awakening, what could almost be described as an enlightenment experience. The phrase “instead of passing on” marks a deviation from his normal behavior and thus suggests the possibility of change.

“‘Morning like this!’ he thought; ‘and here I am the only person in the Square who has the—to come out and—!’”

Once again, Nilson is interrupted, but this time the interruption annoys him as he suddenly becomes aware that somebody is standing near him. Nilson’s thoughts have been self-centered and somewhat prideful: “I am the only person in the Square who has the—” and the sentence is interrupted in mid-thought. Perhaps he means that he is the only person who has the “good sense” or the “proper eye for beauty.”

“Mr. Nilson perceived at once the awkwardness of his position, for, being married, they had not yet had occasion to speak to one another.”

What is unspoken, but assumed, in this passage is a complex set of social conventions that governed the upper-middle class. The intentionally understated tone (“had not yet had occasion”) is not entirely honest and reflects the narrative strategy of framing ideas through the filter of Nilson’s consciousness. They lived as neighbors for five years, and there must have been multiple occasions when the men might have spoken.

“‘Very,’ assented Mr. Tandram, and added: ‘Quite a feelin’ in the air to-day.’”

The word “feeling” is used repeatedly to describe the sensation in Nilson’s throat and chest. In this passage, however, the word has an external application, referring to the ambiance of the garden. Similarly, the word “heart” is used in both an internal and external way, suggesting that what is happening inside Nilson is reflected by what is happening in the world outside him.

“And the little tree as if appreciating their attention, quivered and glowed.”

The narrative perspective of the story limits itself almost exclusively to the thoughts, feelings, and experiences of Nilson. At the climactic moment of the story, however, this perspective moves briefly beyond this limitation to encompass the “feelings” of the Japanese quince. This unexpected broadening of perspective implies the possibility of union with the tree—a kind of mystical union—in which Nilson’s life is fused with the life of the tree. When the mood is suddenly broken, the perspective once again contracts, and the remainder of the narration is limited to Nilson’s experience.

“It struck him suddenly that Mr. Tandram looked a little foolish; and, as if he had seen himself, he said: “I must be going in. Good morning!”

Nilson’s sudden change of mood is driven by a sense of urgency. The phrasing is forceful and intense; the word “struck,” though metaphoric, is violent and suggests how thoroughly shaken he is. Moreover, the word “must” implies obligation and necessity. The force of the final “Good morning!” spoken as a salutation is ironic. It is certainly a good morning in terms of the weather, but the morning has also been deeply troubling to Nilson.

“With the slanting spring sunlight darting and quivering into it, the Japanese quince seemed more living than a tree. The blackbird had returned to it, and was chanting out his heart.”

The transforming nature of this scene is expressed by the sunlight “darting and quivering.” The tree had also been described as quivering, and the natural elements seem to merge into a unified, harmonious whole. Nilson makes the choice, however, to stand apart from this unity and opt for his old routine instead of vital experience. The phrase “more living than a tree” is a curious way to describe the tree considering that it is a living thing; but this phrase points to a “something more,” a transcendent dimension that is always present and possible.