The Open Window

by H.H. Munro (SAKI)

"Out through that window, three years ago to a day, her husband and her two young brothers
went off for their day's shooting. They never came back."

Johannes Vermeer, Girl reading a letter by an open window, 1659

"My aunt will be down presently, Mr. Nuttel," said a very self-possessed young lady of
fifteen; "in the meantime you must try and put up with me."
Framton Nuttel endeavored to say the correct something which should duly flatter the niece
of the moment without unduly discounting the aunt that was to come. Privately he doubted
more than ever whether these formal visits on a succession of total strangers would do much
towards helping the nerve cure which he was supposed to be undergoing
"I know how it will be," his sister had said when he was preparing to migrate to this rural
retreat; "you will bury yourself down there and not speak to a living soul, and your nerves
will be worse than ever from moping. I shall just give you letters of introduction to all the
people I know there. Some of them, as far as I can remember, were quite nice."
Framton wondered whether Mrs. Sappleton, the lady to whom he was presenting one of the
letters of introduction came into the nice division.
"Do you know many of the people round here?" asked the niece, when she judged that they
had had sufficient silent communion.
"Hardly a soul," said Framton. "My sister was staying here, at the rectory, you know, some
four years ago, and she gave me letters of introduction to some of the people here."
He made the last statement in a tone of distinct regret.
"Then you know practically nothing about my aunt?" pursued the self-possessed young lady.
"Only her name and address," admitted the caller. He was wondering whether Mrs. Sappleton
was in the married or widowed state. An undefinable something about the room seemed to
suggest masculine habitation.
"Her great tragedy happened just three years ago," said the child; "that would be since your
sister's time."
"Her tragedy?" asked Framton; somehow in this restful country spot tragedies seemed out of
place.
"You may wonder why we keep that window wide open on an October afternoon," said the
niece, indicating a large French window that opened on to a lawn.
"It is quite warm for the time of the year," said Framton; "but has that window got anything to
do with the tragedy?"
"Out through that window, three years ago to a day, her husband and her two young brothers
went off for their day's shooting. They never came back. In crossing the moor to their favorite
snipe-shooting ground they were all three engulfed in a treacherous piece of bog. It had been
that dreadful wet summer, you know, and places that were safe in other years gave way
suddenly without warning. Their bodies were never recovered. That was the dreadful part of
it." Here the child's voice lost its self-possessed note and became falteringly human. "Poor
aunt always thinks that they will come back someday, they and the little brown spaniel that
was lost with them, and walk in at that window just as they used to do. That is why the
window is kept open every evening till it is quite dusk. Poor dear aunt, she has often told me
how they went out, her husband with his white waterproof coat over his arm, and Ronnie, her
youngest brother, singing 'Bertie, why do you bound?' as he always did to tease her, because
she said it got on her nerves. Do you know, sometimes on still, quiet evenings like this, I
almost get a creepy feeling that they will all walk in through that window--"
She broke off with a little shudder. It was a relief to Framton when the aunt bustled into the
room with a whirl of apologies for being late in making her appearance.
"I hope Vera has been amusing you?" she said.
"She has been very interesting," said Framton.
"I hope you don't mind the open window," said Mrs. Sappleton briskly; "my husband and
brothers will be home directly from shooting, and they always come in this way. They've
been out for snipe in the marshes today, so they'll make a fine mess over my poor carpets. So
like you menfolk, isn't it?"
She rattled on cheerfully about the shooting and the scarcity of birds, and the prospects for
duck in the winter. To Framton it was all purely horrible. He made a desperate but only
partially successful effort to turn the talk on to a less ghastly topic, he was conscious that his
hostess was giving him only a fragment of her attention, and her eyes were constantly
straying past him to the open window and the lawn beyond. It was certainly an unfortunate
coincidence that he should have paid his visit on this tragic anniversary.
"The doctors agree in ordering me complete rest, an absence of mental excitement, and
avoidance of anything in the nature of violent physical exercise," announced Framton, who
labored under the tolerably widespread delusion that total strangers and chance acquaintances
are hungry for the least detail of one's ailments and infirmities, their cause and cure. "On the
matter of diet they are not so much in agreement," he continued.
"No?" said Mrs. Sappleton, in a voice which only replaced a yawn at the last moment. Then
she suddenly brightened into alert attention--but not to what Framton was saying.
"Here they are at last!" she cried. "Just in time for tea, and don't they look as if they were
muddy up to the eyes!"
Framton shivered slightly and turned towards the niece with a look intended to convey
sympathetic comprehension. The child was staring out through the open window with a dazed
horror in her eyes. In a chill shock of nameless fear Framton swung round in his seat and
looked in the same direction.
In the deepening twilight three figures were walking across the lawn towards the window,
they all carried guns under their arms, and one of them was additionally burdened with a
white coat hung over his shoulders. A tired brown spaniel kept close at their heels.
Noiselessly they neared the house, and then a hoarse young voice chanted out of the dusk: "I
said, Bertie, why do you bound?"
Framton grabbed wildly at his stick and hat; the hall door, the gravel drive, and the front gate
were dimly noted stages in his headlong retreat. A cyclist coming along the road had to run
into the hedge to avoid imminent collision.
"Here we are, my dear," said the bearer of the white mackintosh, coming in through the
window, "fairly muddy, but most of it's dry. Who was that who bolted out as we came up?"
"A most extraordinary man, a Mr. Nuttel," said Mrs. Sappleton; "could only talk about his
illnesses, and dashed off without a word of goodby or apology when you arrived. One would
think he had seen a ghost."
"I expect it was the spaniel," said the niece calmly; "he told me he had a horror of dogs. He
was once hunted into a cemetery somewhere on the banks of the Ganges by a pack of pariah
dogs, and had to spend the night in a newly dug grave with the creatures snarling and
grinning and foaming just above him. Enough to make anyone lose their nerve."
Romance at short notice was her speciality.
--------------------------------------------------------------------------------------------------
Hector Hugh Munro (18 December 1870 – 14 November 1916), popularly known by
his pen name Saki and also frequently as H. H. Munro, was a British writer whose witty,
mischievous and sometimes macabre stories satirize Edwardian society and culture. He is
considered by English teachers and scholars a master of the short story and is often compared
to O. Henry and Dorothy Parker. Influenced by Oscar Wilde, Lewis Carroll and Rudyard
Kipling, Munro himself influenced A. A. Milne, Noël Coward and P. G. Wodehouse.[1]
Besides his short stories (which were first published in newspapers, as was customary at the
time, and then collected into several volumes), Munro wrote a full-length play, The Watched
Pot, in collaboration with Charles Maude; two one-act plays; a historical study, The Rise of
the Russian Empire (the only book published under his own name); a short novel, The
Unbearable Bassington; the episodic The Westminster Alice (a parliamentary parody of Alice
in Wonderland); and When William Came, subtitled A Story of London Under
the Hohenzollerns, a fantasy about a future German invasion and occupation of Britain.
In short -
Framton Nuttel is visiting the quiet English countryside in the hope of curing his nerves.
Upon arriving at Mrs. Sappleton’s home, he is greeted by her self-assured 15-year-old niece
named Vera. Mr. Nuttel searches in vain for the proper greeting for a teenage girl, while
privately lamenting that these meetings with strangers, arranged by his sister, likely won’t do
him any good. Vera proceeds to ask her guest about his knowledge of the area and learns that
Mr. Nuttel knows “next to nothing” about her aunt. Vera then points out a large, open
window, and launches into a story about Mrs. Sappleton’s “great tragedy.”
Vera tells Mr. Nuttel that three years ago Mrs. Sappleton’s husband, two brothers, and spaniel
left through that window for a hunting trip, during which they were all “engulfed in a
treacherous piece of bog.” Vera includes specific details about the outing that all ground her
tale, such as the white raincoat one man was wearing and how her uncle Ronnie sang “Bertie,
why do you bound?” to tease his sister. Now, Vera says, her aunt keeps the window open
because she believes the men will still come home. Vera adds that on quiet evenings, she gets
a “creepy feeling” that the dead men will indeed walk through the window.

Just then Mrs. Sappleton enters the room, much to Mr. Nuttel’s relief, and asks her guest
whether Vera has been amusing him. She proceeds to apologize for the open window,
remarking that her husband and brothers enter the house that way after hunting trips to avoid
dirtying the carpet. Mr. Nuttel grows horrified by her cheerful rambling about hunting, and
attempts to change the subject by discussing his illness and various cures. He notices that
Mrs. Sappleton’s eyes keep wandering toward the window, and considers it an “unfortunate
coincidence” to have visited on such a tragic anniversary. Mrs. Sappleton barely stifles a
yawn before “brightening to attention” to something outside.
Mrs. Sappleton excitedly remarks that her brother and husband have arrived just in time for
tea. For a moment Mr. Nuttel pities her delusion, before catching a look of terror on Vera’s
face. Turning to look out the window himself, he sees three men and a dog walking across the
yard, one with a white raincoat slung over his arm and another singing “Bertie, why do you
bound?”—just as in Vera’s story. Terrified, Mr. Nuttel sprints out of the house and down the
driveway.
The men enter the home and the one with the white coat asks Mrs. Sappleton who the man
running past was. She responds that he was a “most extraordinary gentleman,” who left
without saying goodbye, in such a hurry that “one would think he had seen a ghost.”
Immediately Vera explains that Mr. Nuttel ran off because of the spaniel, adding that he is
scared of dogs due to a traumatic incident in India. The story concludes with the line,
“romance at short notice was her specialty.”

‘The Open Window’: plot summary

What happens in ‘The Open Window’, in summary, is this: a man, who has the glorious name
of Framton Nuttel, has newly arrived in a ‘rural retreat’, to help him settle his nerves. His
sister, worried that he will hide himself away there and ‘mope’, thus making his nerves
worse, has given him the names and addresses of all the people she knows in the area, and
told him to go and introduce himself to them. (His sister had stayed at the rectory four years
earlier.)
‘The Open Window’ takes place at the house of one of Framton’s sister’s contacts, a woman
named Mrs Sappleton and her 15-year-old niece, Vera, whom Framton has gone round to visit
so he might introduce himself.
While Mrs Sappleton is upstairs making herself ready to meet their new guest, Vera entertains
Framton. After she learns that Framton knows barely anything about her aunt, Vera tells him
that three years ago Mrs Sappleton’s husband and her two brothers went out through the
French window on a shooting trip, and never returned. They drowned in a ‘treacherous piece
of bog’ and their bodies were never recovered. The spaniel they took with them was lost, too.
Vera tells Framton that her aunt has kept the French window open ever since, in the belief
that her husband and brothers are going to walk back through the open window any moment,
alive and well.
Mrs Sappleton then arrives from upstairs and apologises for being late coming down. She
mentions the open window and explains that her husband and brothers are out shooting but
will be back any minute. They exchange small talk about shooting and birds, and Framton
iterates that he has been told to have complete rest and avoid ‘mental excitement’, when Mrs
Sappleton announces that her husband and brothers are returning home.
Framton looks with horror at the sight of three men and a ‘tired brown spaniel’ approaching
the open window – he sees that Vera shares his look of shock. Believing he is seeing three
ghosts (four if you include the dog!), he picks up his hat and coat and runs from the house as
fast as he can.
Back at the house, Mrs Sappleton remarks that Mr Nuttel was an odd man – all he could do
was talk about his ailments, and then he ‘dashed off’ as soon as the men arrived. Vera
suggests that he was scared of dogs, and the sight of the spaniel caused him to run off. The
final sentence of the story refers to Vera: ‘Romance at short notice was her speciality.’
‘The Open Window’: analysis
‘The Open Window’ is an amusing little story; but is it more than this? Closer analysis of
Saki’s tale reveals that the devil is in the detail. Note that Framton is not presented as a
gullible fool, and if he is, we as readers are encouraged to be gulled, too, for we are supposed
to be taken in by Vera’s lie about the dead husband and brothers as well.
But as Framton is wondering whether Mrs Sappleton is married or widowed, he senses a male
presence in the house: ‘An undefinable something about the room seemed to suggest
masculine habitation.’ His first instinct is correct, but Vera’s entirely fabricated narrative
leads him to believe he was mistaken about the ‘masculine’ atmosphere.
And she convinces him that she should be believed by a number of subtle details: the spaniel
that accompanied the men on their apparently ill-fated trip, for instance, and the white
waterproof coat which the husband was carrying over his arm when they left. Vera obviously
saw the men leaving with the dog and coat, and weaves them into the narrative she feeds to
Framton, so that when the men return – with the dog and the coat, as described – the idea that
Framton is seeing dead men walking is all the more powerful.
Vera’s look of horror when they see the men returning to the house is also a nice touch. Of
course, being still technically a child, female, and named Vera (meaning literally ‘truth’), all
help, too. But you can never trust children in Saki, those ‘feral ephebes’ in Sandie Byrne’s
memorable phrase.
But does ‘The Open Window’ mean anything else beyond itself? That is, can it be analysed
as a commentary on anything other than lying teenage girls? Well, the story does raise
questions which, we might argue, prefigure the concerns of the modernist writers who were
active a few years after Saki, in the immediate post-WWI period.
There is no absolute truth or absolute reality, writers such as James Joyce and Virginia Woolf
suggest, because everything is mediated through personal human experience, and we cannot
know everything. Virginia Woolf’s first great novel, Jacob’s Room (1922), is a good example
of this: no one character fully knows or understands the title character, and everyone gets a
slightly different glimpse of who he is. Framton has only Vera’s word to go on about Mrs
Sappleton’s husband and brothers.
But, conversely, Mrs Sappleton, unaware that her niece has been spinning their guest a web
of lies, has a different perception of him, too, believing him to be an odd man who has an
excessive reaction to the sight of her male relatives. Vera, the fiction-master (and thus the
author-surrogate in the story), is the only one who knows both sides and can enjoy playing
these two characters, with their partial glimpses of the whole story, off each other.
Although Saki’s style and approach are very different from someone like Virginia Woolf, the
preoccupation with ‘fiction’ and ‘perception’ is the same – only Saki’s take on this issue is
funnier.
Vera’s lie in ‘The Open Window’ about three members of one family – all of them male –
going off together on a shooting trip and never returning, leaving the female characters at
home to grieve for them, seems eerily to prefigure the events of a few years later, when
hundreds of thousands of Englishmen – including, in many cases, every single man in a
particular family – would go off to fight in the First World War and never come back. (When
we consider that, in Vera’s fictional account, the three men meet their end by drowning in
boggy mud, and their bodies are never recovered, the foreshadowing of the Western Front
becomes downright spooky.)
Saki himself would be one of them, killed in action in 1916. With him, and many like him,
the Edwardian way of life that Saki so ruthlessly skewers in his stories would die, too. But
‘The Open Window’ remains more than a window (to reach for the inevitable metaphor) onto
a vanished world. It is a timeless tale about truth and fiction, and, yes, a parable without a
moral. For that reason, it deserves to be revisited, analysed and studied, discussed, and
celebrated.
Vera, a “self-possessed” young woman, greets Framton Nuttel, who has just arrived at her
house. Vera says that her aunt will be down soon to see Mr. Nuttel, and that in the meantime
he will have to “put up with” Vera.
(Vera’s immediate confidence foreshadows her ability to control the adults around her. Her
calculated self-deprecation in this moment is meant to reduce her importance in her guest’s
eyes.)
​
Mr. Nuttel attempts to think of an appropriate greeting to flatter Vera without going so far as
to belittle her aunt, Mrs. Sappleton. He ends up saying nothing.
(Social propriety is overly complicated and absurd; Mr. Nuttel is so concerned with saying
the right thing that he can think of nothing to say.)
Privately, Mr. Nuttel doubts whether these visits with strangers, prearranged by his sister to
make sure he does not mope in the countryside, will do any good for his anxiety. He further
wonders about his sister’s comment that only “some” of the people to him he is being
introduced are “nice.”
(Mr. Nuttel’s lack of interest in, and judgment of, the people to whom his sister has written
reflects the shallowness and insincerity of certain social customs.)
After “sufficient silent communion” has elapsed, Vera asks Mr. Nuttel about his knowledge
of the area. Mr. Nuttel replies that he knows next to nothing about Mrs. Sappleton, and that
his sister is the one who gave him letters of introduction.
(Propriety continues to lead to stilted, unnatural social interactions. Vera uses this to her
advantage as she pries into Mr. Nuttel’s knowledge of the area, playing the role of polite
hostess in order to gauge how much fiction she can get away with later.)
Vera tells Mr. Nuttel that Mrs. Sappleton’s “great tragedy” happened three years prior,
after Mr. Nuttel’s sister’s time in the country. Mr. Nuttel feels that any tragedy would be out
of place in such a restful location.
(Mr. Nuttel’s romantic preconceptions about country life are incompatible with tragedy. Vera
artfully positions this “tragedy” as having taken place after Mr. Nuttel’s sister had left, which
explains why he never heard about it.)
Vera points out a large open window, commenting that Mr. Nuttel may wonder why it has
been left open on an October afternoon. She proceeds to tell her guest that three years ago,
her aunt’s husband and brothers, along with their spaniel, went out through the window to go
shooting. One man wore a white waterproof coat. They were “engulfed by a treacherous bog”
on the trip and died. She laments that the conditions that summer were very wet.
(This is the first mention of the titular open window, which Vera transforms from a mundane
household object into a centerpiece of tragedy. Her use of specific details makes her story
more believable. The men’s manner of death is so absurd, however, as to be farcical; Saki is
satirizing elements of traditional tragic romances.)
​
Mr. Nuttel notes that Vera’s voice has become less self-assured, and instead is “falteringly
human.” She continues, saying that her aunt believes the men will still return some day, her
younger brother Ronnie singing “Bertie, why do you bound?” to tease her, and that is why
the window is kept open. On quiet nights, Vera herself fears that the dead men will walk
through the window.
(Mr. Nuttel is convinced by Vera, who clearly knows how to act like an innocent young girl.
She plays up her own terror to further unnerve her guest, and her suggestion of the men
returning through the window adds suspense to the scene.)
​
Mrs. Sappleton enters the room, much to Mr. Nuttel’s relief, and asks her guest if Vera has
been amusing him. Mrs. Sappleton apologizes to Mr. Nuttel for the open window, remarking
that her husband and brothers enter the house that way to avoid dirtying the carpet. Mr. Nuttel
is horrified as she rambles on about hunting, and he notices that her eyes keep wandering
toward the window. He considers it an “unfortunate coincidence” to have visited on such a
tragic anniversary.
(Mrs. Sappleton’s entrance breaks the building tension. Her light demeanor sharply contrasts
with Vera’s story, while her preoccupation with the window makes her appear delusional to
the newly-conned Mr. Nuttel. His pity for Mrs. Sappleton is ironic, given that he is the one
being made a fool.)
Mr. Nuttel attempts to change the subject by discussing the intricacies of his own ailments
and prescriptions, laboring “under the tolerably widespread delusion that total strangers and
chance acquaintances are hungry for the least detail of one's ailments and infirmities, their
cause and cure.” Mrs. Sappleton barely stifles her yawn.
(Saki mocks those who, like Mr. Nuttel, believe their ailments to be of interest to strangers.
Even the proper, polite Mrs. Sappleton appears bored.)
​
Mrs. Sappleton suddenly brightens to attention to something outside, and then excitedly
remarks that her brother and husband have arrived just in time for tea. Mr. Nuttel pities her
delusion, before catching a look of terror on Vera’s face.
(Mr. Nuttel has been completely taken in by Vera, and his condescending pity is quickly
replaced by fear. Vera continues to act the part of a frightened, innocent girl.)
​
Turning to look out the window himself, Mr. Nuttel sees three men and a dog walking across
the yard, one with a white raincoat slung over his arm and another singing “Bertie, why do
you bound?”—just as in Vera’s story.
(The inclusion of details from Vera’s story make Mr. Nuttel think he truly is seeing a pack of
ghosts. This scene is one of horror for Mr. Nuttel, relief for Mrs. Sappleton, and humor for
the reader who knows the end of the tale.)
​
Mr. Nuttel sprints out of the house and down the driveway in horror, causing a cyclist “to run
into the hedge to avoid imminent collision.”
(The abruptness of Mr. Nuttel’s departure contrasts with his earlier calculated propriety, and
reveals the extent to which Vera has fooled him. His near run-in with a cyclist adds an
element of farce to the scene.)
The men enter the home, and the one with the white coat asks Mrs. Sappleton who the man
running past was. She responds that he was a “most extraordinary gentleman,” who left
without saying goodbye, in such a hurry that “one would think he had seen a ghost.”
(It becomes clear that the men are not ghosts but alive and well. Mr. Nuttel’s exit was thus
rude and unnecessary. Mrs. Sappleton ironically says the truth of what happened without
knowing it.)
Immediately Vera explains that Mr. Nuttel ran off because of the spaniel, adding that he is
scared of dogs due to a traumatic incident in India. The story concludes with the line,
“romance at short notice was her specialty.”
(Any doubt about the veracity of Vera’s earlier tale is dispelled by her eagerness to whip up a
new one. The reader knows that this story about Mr. Nuttel is not true, and thus that Vera has
been lying all along. Saki’s final line cements Vera as a clever con artist, while also satirizing
traditional notions of romance as weighty and serious.)
THEMES
The Absurdity of Etiquette
“The Open Window”—Saki’s tale of the anxious Framton Nuttel’s ill-fated encounter with
the precocious young storyteller Vera in the English countryside—is, ultimately, a satire of
excessive decorum. Saki wrote the story during the Edwardian Era (1901-1914), when British
social mores were beginning to loosen. In the story, Saki positions the excessive social graces
of the previous period as shallow and arbitrary, but also as actions that, ironically, allow for
rudeness and deception.
The Open Window”—Saki’s tale of the anxious Framton Nuttel’s ill-fated encounter with
the precocious young storyteller Vera in the English countryside—is, ultimately, a satire of
excessive decorum. Saki wrote the story during the Edwardian Era (1901-1914), when British
social mores were beginning to loosen. In the story, Saki positions the excessive social graces
of the previous period as shallow and arbitrary, but also as actions that, ironically, allow for
rudeness and deception.
In “The Open Window” etiquette is the enemy of candor. Rigid social expectations lead to
stilted, awkward conversations, as characters must say what is proper rather than what they
actually feel. For example, Mr. Nuttel cannot simply offer a sincere greeting or compliment
to Vera upon his arrival at the Sappleton home. Instead, he must navigate the
overly-complicated task of saying “the correct something which should duly flatter the niece
of the moment without unduly discounting the aunt that was to come.” The result is silence:
concern over saying the right thing results in Mr. Nuttel unable to think of anything to say at
all. Saki further lampoons societal norms of conversation by writing that Vera only continued
speaking after judging that she and Mr. Nuttel “had had sufficient silent communion.”
Etiquette also manifests as a form of insincerity. Mr. Nuttel’s sister has written letters of
introduction to locals she met while living in the countryside, in the hopes that meeting with
them will help assuage her brother’s anxiety. Yet despite asking these people for what is
essentially a favor, she cannot bring herself to characterize them all favorably; she says to her
brother that only “some of them, as far as I can remember, were quite nice.” With his sister
having already written letters, propriety dictates that Mr. Nuttel visit certain homes despite
having no meaningful connection to their occupants. Mr. Nuttel proceeds with these social
callings despite his—it turns out warranted—doubts that his “formal visits on a succession of
total strangers would do much towards helping to cure his nerves.”
Mr. Nuttel feeling obliged to visit strangers, and those strangers feeling obliged to host him,
creating the opportunity for (and perhaps ensuring) awkwardness hidden behind a veil of
politeness. Saki then further points out the ridiculousness of the situation by showing how
these interactions between utter strangers also create the opportunity for deception. Upon
learning that the man she has been tasked with greeting is clueless about her family, Vera
entertains herself by spinning a tale about her aunt’s tragic history—subverting expectations
of propriety to satisfy her own decidedly improper ends.
Preoccupation with etiquette not only allows Vera to get away with her lies, but also results in
Mr. Nuttel being made a fool of. His head spinning with Vera’s story about the deaths of her
male relatives, Mr. Nuttel becomes terrified upon seeing “ghosts” return to the Sappleton
home and flees “without a word of good-bye or apology” (and also nearly collides with an
innocent cyclist in the process). A situation spawned by decorum has ironically resulted in
the anxious Mr. Nuttel coming across as a rude, and as such implies that the original social
mores governing politeness and decorum are themselves hollow and absurd.
Fiction and Perspective
“The Open Window” uses its story-within-a-story structure to explore the interplay of truth
and imagination. Whether viewed as a cruel prank or an enjoyable practical joke, the stories
that Vera makes up in “The Open Window” control the perspectives of everyone around her.
Saki mines comedy from contradicting perspectives, as Vera’s story results in a farcical
disconnect between Mr. Nuttel’s experience of the world and Mrs. Sappleton’s. Based on
Vera’s story, Mr. Nuttel…
“The Open Window” uses its story-within-a-story structure to explore the interplay of truth
and imagination. Whether viewed as a cruel prank or an enjoyable practical joke, the stories
that Vera makes up in “The Open Window” control the perspectives of everyone around her.
Saki mines comedy from contradicting perspectives, as Vera’s story results in a farcical
disconnect between Mr. Nuttel’s experience of the world and Mrs. Sappleton’s. Based on
Vera’s story, Mr. Nuttel believes Mrs. Sappleton’s male relatives to have been killed on a
hunting trip three years ago, and so Mr. Nuttel finds it “purely horrible” to hear Mrs.
Sappleton ramble “cheerfully” on about how the men will soon return. Such light topics are
hardly cause for horror, unless one believes (as Mr. Nuttel does) their speaker to be delusional
with grief.
On a similar note, Mr. Nuttel’s subsequent attempt to steer the conversation in a “less
ghastly” direction by talking about his personal ailments is a nicety that appears deeply
strange to Mrs. Sappleton. Lacking the fiction that shapes Mr. Nuttel’s perspective of their
meeting, Mrs. Sappleton cannot understand why her guest “could only talk about his
illnesses” and why he runs away from the home when her relatives arrive. She instead
perceives Mr. Nuttel to simply be a “most extraordinary man”—which is a kind of polite code
for what she actually means: that she thinks he’s crazy. Mrs. Sappleton nearly arrives at the
truth of the matter when she says of Mr. Nuttel’s hasty exit, “One would think he had seen a
ghost.” The irony is she has no idea that, in Mr. Nuttel’s mind, this is precisely what
happened.
Saki’s story also makes frequent use both situational and dramatic irony: not only does Vera
fool her audience, but “The Open Window” fools its readers as well. At first, the reader has
no concrete reason to question Mr. Nuttel’s perception of events nor to disbelieve Vera’s
story. In fact, Mr. Nuttel is initially presented as an observant man, noting—correctly—that
“an undefinable something” about the Sappleton home “seemed to suggest masculine
habitation.” By presenting much of “The Open Window” from Mr. Nuttel’s perspective, Saki
puts the reader in the same shoes as his gullible protagonist. And to Mr. Nuttel, Vera appears
“falteringly human” and has a look of “dazed horror in her eyes” as the men return from their
outing—all evidence that her ghostly story must be true. The specificity and quickness of
Vera’s tale further lend it an air of authenticity.
However satirical “The Open Window” may be, it is only upon reaching the end of the
story—when Vera invents a reason for Mr. Nuttel’s frantic exit—that the reader can know for
certain that Vera has been lying all along. Saki’s prose is restrained in its mockery, with any
authorial smirk becoming apparent only after the reader gets to the end of the tale. This shift
in perspective changes the entire tone of the story; elements that initially come across as
sinister become comedic through dramatic irony (that is, knowing something the characters
do not). The delusional figure in the story also shifts from being Mrs. Sappleton to Mr.
Nuttel.
As the author of the internal tale, Vera serves as a sort of stand-in for Saki himself (who not
coincidentally grew up in an English country house with his aunts). “The Open Window”
thus asserts the ability of fiction to alter one’s perception of the world, and the tale is
ultimately a testament to the power of storytelling.
The Romance of Hypochondria
In the story of Mr. Nuttel going to the country to search for the “nerve cure” for his anxieties,
Saki lampoons not just the strict etiquette of the previous (Victorian) era, but also its tendency
to romanticize the English countryside, tragedy, and illness.
The exact nature of Mr. Nuttel’s condition is never specified beyond being a vague issue of
“nerves.” His prescription for “complete rest, an absence of mental excitement, and
avoidance of anything in…
In the story of Mr. Nuttel going to the country to search for the “nerve cure” for his
anxieties, Saki lampoons not just the strict etiquette of the previous (Victorian) era, but also
its tendency to romanticize the English countryside, tragedy, and illness.
The exact nature of Mr. Nuttel’s condition is never specified beyond being a vague issue of
“nerves.” His prescription for “complete rest, an absence of mental excitement, and
avoidance of anything in the nature of violent physical exercise” reads more like justification
for taking a vacation. Mr. Nuttel’s anxieties seem all the more inconsequential when
positioned in comparison to Mrs. Sappleton’s “great tragedy” (that is, the alleged death of
her husband, brothers, and dog in a bizarre accident). The fact that Vera concocts such a
macabre tale in response to Mr. Nuttel’s arrival suggests that she, for one, certainly does not
take his ailment, nor his prescription for rest and relaxation, seriously.
Romanticizing illness results in romanticizing its cure. Mr. Nuttel is shocked by Vera’s story
in part because he assumes the countryside to be the restorative idyll of stereotype, noting,
“in this restful country spot tragedies seemed out of place.” Yet in the end the countryside is
neither restful nor horrifying; to a young girl starved for entertainment, it is simply boring.
Saki’s most scathing indictment of Mr. Nuttel’s frailty comes when, in his attempts “to turn
the talk on to a less ghastly topic” with Mrs. Sappleton, he begins discussing his illness. Saki
describes Mr. Nuttel as laboring “under the tolerably wide-spread delusion that total strangers
and chance acquaintances are hungry for the least detail of one's ailments and infirmities,
their cause and cure.” The obviously bored Mrs. Sappleton can barely stifle her yawn while
listening to Mr. Nuttel. By employing the phrase “tolerably wide-spread” Saki suggests that
Mr. Nuttel’s delusion is not just his own, and that, rather, it spreads across society. Mr. Nuttel,
then, is but a stand-in for the legions of self-absorbed hypochondriacs (that is, people who are
paranoid about or preoccupied with their own health) across British society—some of whom
may be reading Saki’s words, and all of whom he is mocking.
In the story, Saki satirizes not only preoccupation with one’s own delicateness but also
fascination with tragedy, as, like Mr. Nuttel, contemporary readers may have been too quick
to believe Vera’s tale of gothic horror. In “The Open Window,” “nerves” are nothing more
than self-absorbed hypochondria, and tragic romance is spun from the musings of a bored
teenage girl. The story thus suggests that the maladies of the upper class—both “nerves” and
overexcited “Romantic” imaginations—may simply be the result of having too much time on
their hands.
Saki subverts expectations of naiveté, as the young, too-easily-dismissed Vera handily
manipulates the adults around her. In “The Open Window,” age does not necessarily confer
wisdom, and a childish demeanor can mask audacious cunning.
In the opening line of the story, Mr. Nuttel immediately observes that Vera is a “very
self-possessed young lady,” yet nevertheless fails to detect her prank. This is in large part
because, in keeping with her self-possession, Vera knows how to play the role of an innocent,
nonthreatening girl. Vera tempers her own significance from the moment she meets Mr.
Nuttel, saying, “My aunt will be down presently … in the meantime you must try and put up
with me.” By presenting herself as inconsequential, she is able to avert suspicion of anything
she subsequently says.
Despite how she may present herself, however, Vera is clearly more perceptive than Mr.
Nuttel. While the latter is consumed with searching for the proper thing to say and constantly
worrying about his own infirmities, Vera is sizing up her guest. Her delicate prying—“Then
you know practically nothing about my aunt?”—goes unnoticed by Mr. Nuttel, yet grants
Vera the permission she needs to make up any history she desires.
The quickness and specificity of Vera’s ghost story further evidences her keen knack for
observation. Her detailed description of her uncles means she must have noted the exact
configuration of men heading out hunting earlier in the day. Details such as the “white
waterproof coat over” an uncle’s arm, the presence of a spaniel, and her uncle singing
“Bertie, why do you bound?” ground her story in reality. Her acting skills are well-practiced
as well, as she is able to convince Mr. Nuttel that she is genuinely terrified upon the return of
her uncles. That, or he just is not suspecting a young girl to so brazenly lie to his face; it
appears Mr. Nuttel would rather believe ghosts have entered the Sappleton house than that a
15-year-old girl could have fooled him.
“The Open Window” does not condemn Vera for her deception. On the contrary, Saki
presents her as remarkably quick-thinking and imaginative young woman, simply amusing
herself while surrounded by less observant adults in the stiflingly proper English countryside.
Vera’s name, in fact, comes from the Latin for truth. While her stories are anything but, Saki
suggests that her ability to reveal the artifice of certain social situations is, in itself, an act of
honesty.
Wildness/Chaos vs. Order
Saki disrupts the otherwise placid house visit with such strange occurrences as a supposed
ghost siting and a tragic death. The open window is the vessel through which this chaos
enters the orderly sitting-room scene. The particular type of chaos Saki utilizes in this story is
closely related to his fascination with the wild: it involves wild dogs, dangerous terrain, and a
forest. Saki commonly uses chaos to mock the customs of English society, preferring the
chaotic to the boring order of adult life.
Empowerment (at expense of adults)
Closely related to Saki’s preference of chaos over order is his frequent positioning of children
as foils for frail adult characters. Vera, the child in this story, repeatedly bests the adult
characters with the power of her imagination. She finds a particularly good target in Framton,
whose nerves make him a natural audience for her trickery.
Desire to Escape
Both Framton and Vera possess a strong desire to escape. Vera seeks escape from the adult
world she inhabits through her imagination and storytelling. Framton is brought to the rural
town out of a desire to escape and recover from his nerve disorder. While Vera’s escape
proves fruitful and entertaining, Framton’s is not so successful: it provokes more chaos than
calm.
Power of Storytelling
Saki commonly uses the ‘story within a story’ technique in his works. He takes this a step
further in “The Open Window” by using Vera as storyteller to convey a theme about
storytelling as an art form. Saki and Vera both rely on the short story to fool their audience.
As one who relied mainly on the short story to capture his ideas, Saki includes storytelling in
this work to communicate its unique compatibility with the comedic tale.
Rural Calm
This theme is closely related to the chaos vs. order theme. Several characters allude to the
supposed peacefulness of the rural setting: Framton’s doctors suggest it as a retreat to calm
his nerves and Framton himself is surprised to find that tragedy would ever occur in the rural
landscape. Ironically, the setting becomes another source of anxiety for Framton with the
addition of Vera’s storytelling.
Satirization of Edwardian Society
Saki is well known for his satirical illustrations of Edwardian English society. “The Open
Window” is yet another example of these satirical writings. Mockingly, Saki exposes the
absurdity of the house visit during conversations between Framton and Mrs. Sappleton. Both
find the encounter “purely horrible” and Mrs. Sappleton can barely contain a yawn as her
guest discusses his medical idiosyncrasies (226).
Comedy
Comedy plays a significant role in “The Open Window.” Vera’s stories, although perhaps
initially credible, are revealed at the end to be fantastical and comedic fantasies of a child’s
making. Thus comedy is posited as a refreshing contrast to the dull and adult setting and
lifestyle.
The Open Window Characters
Framton Nuttel
A perpetually anxious gentleman sent to the English countryside to soothe his nerves. Mr.
Nuttel has arrived at the Sappleton home following a letter of introduction from his sister, but
is not enthused about the… read analysis of Framton Nuttel
A perpetually anxious gentleman sent to the English countryside to soothe his nerves. Mr.
Nuttel has arrived at the Sappleton home following a letter of introduction from his sister, but
is not enthused about the prospect of conversing with total strangers. His behavior is largely
shaped by expectations of social etiquette, and he is easily manipulated by Vera’s story about
the deaths of her aunt’s husband and brothers. Upon the return of Mrs. Sappleton’s male
relatives to the house, Mr. Nuttel dashes away without a word of explanation or apology—all
his gentlemanly pretensions cast aside in the face of apparent horror.
Vera Sappleton
Fifteen-year-old Vera greets Mr. Nuttel upon his arrival to the Sappleton home and spins the
tragic tale that sends him running away. Immediately described as “very self-possessed,” Vera
is an observant, clever, and above all… read analysis of Vera Sappleton
Fifteen-year-old Vera greets Mr. Nuttel upon his arrival to the Sappleton home and spins the
tragic tale that sends him running away. Immediately described as “very self-possessed,” Vera
is an observant, clever, and above all imaginative young woman who handily fools the adults
around her with “romance on short notice.” Vera’s name comes from the Latin for truth, and
her innocent demeanor makes her tales all the more convincing.
Mrs. Sappleton
Vera’s aunt and the lady of the Sappleton home. Though she appears to be somewhat aware
of Vera’s penchant for storytelling, Mrs. Sappleton nevertheless fails to detect the prank her
niece has pulled on… read analysis of Mrs. Sappleton
Vera’s aunt and the lady of the Sappleton home. Though she appears to be somewhat aware
of Vera’s penchant for storytelling, Mrs. Sappleton nevertheless fails to detect the prank her
niece has pulled on the unsuspecting Mr. Nuttel. Mrs. Sappleton nearly arrives at the truth of
the matter, commenting after Mr. Nuttel’s hasty exit that her guest looked as though he’d seen
a ghost.
Framton Nuttel’s sister
Though she never appears in the story, Mr. Nuttel’s sister is the reason he is at the Sappleton
home to begin with. Fearing her brother would spend his restorative time in the country
moping… read analysis of Framton Nuttel’s sister
Though she never appears in the story, Mr. Nuttel’s sister is the reason he is at the Sappleton
home to begin with. Fearing her brother would spend his restorative time in the country
moping, she writes letters of introduction to acquaintances she made while working at a local
rectory a few years prior, remarking that “some” of these people were nice.
Minor Characters
Ronnie
Mrs. Sappleton’s youngest brother, whom Vera says always sings “Bertie, why do you
bound?” He sings this upon returning from his hunting trip, terrifying Mr. Nuttel.
SYMBOL
The open window is the main set piece of Vera’s story, literally framing her uncles’ return for
the characters inside the Sappleton home. Though each character sees the same thing when
looking through the window, what this image means changes depending on their perspective.
For Mrs. Sappleton, who knows her husband and brothers will soon be returning from a
hunting trip, seeing the men through the window is exciting. To Mr. Nuttel, who believes
these men are dead, it is terrifying. The open window thus represents the power of
storytelling to shape one’s view of the world outside.
Innocence and Guile
Saki subverts expectations of naiveté, as the young, too-easily-dismissed Vera handily
manipulates the adults around her. In “The Open Window,” age does not necessarily confer
wisdom, and a childish demeanor can mask audacious cunning.
In the opening line of the story, Mr. Nuttel immediately observes that Vera is a “very
self-possessed young lady,” yet nevertheless fails to detect her prank. This is in large part
because, in keeping with her self-possession, Vera knows how to…
SUMMARY
“The Open Window” might be Saki‘s most anthologized and widely read short story. It’s very
brief, easy to read, and highly entertaining, making it a standout even among Saki’s stories.
It’s a popular short story for students. Can’t find any Sparknotes? No problem. This analysis
of “The Open Window” starts with a summary then looks at a theme and questions.
“The Open Window” Summary
Framton Nuttel is in the country for a nerve cure. His sister didn’t want him to be isolated, so
she’s given him letters of introduction to all her acquaintances in the area.
He calls on Mrs. Sappleton, but is let in by her niece, Vera, a young lady of fifteen. She asks
if he knows about the people in the area, particularly her aunt. He doesn’t know much at all,
including whether she’s married or not.
Vera tells Mr. Nuttel the story of her aunt’s great tragedy. She indicates the large French
window that is wide open. Exactly three years ago her aunt’s husband, two brothers, and their
dog went out to hunt and never returned. They sunk in a piece of bog, and their bodies were
never found. The aunt keeps the window open for them, believing they’ll come back through
it.
Mrs. Sappleton enters excitedly, explaining that her husband and brothers will be home soon
from shooting, and prattles on cheerfully. It’s horrible to Mr. Nuttel and he tries to change the
subject. Mrs. Sappleton is distracted by the open window.
Mr. Nuttel explains his situation—he’s been ordered complete rest, no mental excitement, and
no strenuous physical exercise. Mrs. Sappleton is bored, but suddenly perks up when she sees
the men and dog walking toward the house. Mr. Nuttel looks sympathetically at Vera, but is
shocked to see horror in her eyes. He looks out the window and sees the figures approaching.
Mr. Nuttel gathers his things wildly and flees the house, nearly colliding outside with a
cyclist. Mr. Sappleton enters and asks about the man who just bolted from the house. His wife
explains who he is, but can’t explain his sudden departure, as if he’d seen a ghost.
Vera offers an explanation. Mr. Nuttel must have panicked when he saw the dog, because he
once had a traumatic experience—he was chased by a pack of wild dogs and had to hide all
night in an open grave. These types of stories are Vera’s specialty.
(End of “The Open Window” summary)
“The Open Window” Theme Analysis: Power of Fiction
The power of a good story is clear in “The Open Window”, both in the inner tale Vera weaves
and in the complete story that the reader gets.
Vera’s story works perfectly on Mr. Nuttel. She grounds it in sensory details, which
contributes to its realism. She starts with the open window, which Mr. Nuttel can easily see,
then adds other details that make it feel real—going out shooting, a bog, the white coat, and
the song that one of them sang.
Mr. Nuttel believes it, causing him to interpret Mrs. Sappleton’s normal words as proof of her
insanity. Rather than snapping him out of the illusion, Mrs. Sappleton speaking truthfully of
her husband and brothers ironically serves to strengthen the story, as Vera said she was in
denial over their deaths.
Vera adds another nice touch to make their “supernatural” return more believable. She
concludes her story by saying she sometimes has, “a creepy feeling they will all walk in
through that window.” Mr. Nuttel has been perfectly set up for a shock, and he gets it.
Unlike Mr. Nuttel, the reader gets the complete story, inner and frame. The opening frame
doesn’t give us any information that Mr. Nuttel doesn’t also have, so we’re on equal footing
with him when Vera starts her story. The reader has the same reasons for believing Vera as
Mr. Nuttel does.
After Mr. Nuttel flees the house in terror, we get to hear the explanation. It’s obvious that the
men are alive and well, and only set out that morning. Vera invents a story about Mr. Nuttel
that leaves no doubt she made everything up. Having the full story, we could easily feel more
sophisticated and act like the ending was obvious.
I’m guessing that most readers are surprised by the reveal, proving the effectiveness of a well
crafted story. We can get caught up in a completely made up scenario, just as Mr. Nuttel did.
This is one of the main reasons we enjoy fiction so much.
Other themes that could be explored include:
●​ Deception
●​ Perception
●​ Appearances vs Reality
“The Open Window” Analysis Questions
1. What clues are given to suggest the surprise ending?
In a story this short, there aren’t going to be a lot of clues, but there are some:
●​ Vera is curious about how much Mr. Nuttel knows about her aunt and the people in
the area.
●​ “Something about the room seemed to suggest masculine habitation.”
●​ Mr. Nuttel just happens to visit on the anniversary of this terrible tragedy.
●​ Mrs. Sappleton seems normal enough.
2. Is Mr. Nuttel gullible? What about the readers?
Somewhat, but it’s understandable under the circumstances. He has no reason to doubt Vera’s
story. Of course, when the returning men and dog turn the situation supernatural, he certainly
could have realized at that point. It’s believable that he doesn’t, though, as he’s there for a
nerve cure, so he’s not feeling the best. It’s not clear exactly what his problem is, but it’s
reasonable to assume he’s not thinking normally. In his fragile mental state, Vera’s story and
her subsequent acting overwhelm his logical side. If we want to call him gullible, it’s only
due to his temporary condition.
A reader might judge Mr. Nuttel gullible without also applying the quality to themselves
because they know they’re experiencing a piece of fiction. Being surprised by the ending
doesn’t make one gullible, as a piece of fiction could present something paranormal as being
“real”. As a reader, it’s only the fact we can see that the story ends in a few paragraphs that
suggests a twist ending.
In all, the story’s twist ending comes off as very effective, entertaining and fair. “Romance at
short notice was [Vera’s] specialty”, and it was Saki’s as well.
3. What does the open window symbolize?
Vera makes the open window a symbol of Mrs. Sappleton’s (supposed) insanity, as she
believes her dead loved ones will walk through it.
We would generally expect an open window to symbolize transparency, honesty or freedom.
Saki (and Vera) cleverly uses these associations to add to the veracity of the story. The ending
subverts our expectations, as Vera also turns it into a symbol of deception.
The Young Girl’s Name in “The Open Window”
Another interesting point is the niece’s name, Vera, which means truth or faith. This is
another subversion, as Vera seems to be a habitual liar. She doesn’t have much interest in the
truth, and putting faith in what she says leads Mr. Nuttel and us astray.
The Open Window Essay Questions
1.​ Describe how the title of the story relates to the themes of the story itself.
“The Open Window” is about the capacity of storytelling, particularly short stories, to
entertain through humor and trickery. The story itself is therefore an imagined world that
inverts the normal power between adult and children, and casts Vera as the holder of truth and
power (through her trickery) and Framton as the powerless, gullible adult. The reader looks
through the ‘open window’ by reading the story and becomes a character herself, subject to
the same foibles as Framton as a result of Saki’s diction and Vera’s character.
2.​ How are adults characterized in the short story?
From the muddied hunting troupe to the obsessive Mrs. Sappleton and the unstable Framton
Nuttel, adults in “the Open Window” are characterized as a motley crew of dullness and
daftness. This is especially true when their humdrum characters are contrasted with the quick
wit and exciting world Vera creates all on her own. Even the adult character names,
‘Sappleton’ and ‘Nuttel’, emphasize a negative almost mocking view of them.
3.​ Explain how gender roles contribute to the meaning of the story.
With the exception of Framton, the characters that remain at home are all women and those
that go hunting are all men. Framton’s nerves may align him more with traditional and
stereotypical portrayals of women in Saki’s day. However, Saki also inverts a traditionally
male-aligned role as trickster by attributing it to a young woman. Gender in “The Open
Window” is thus an interesting reversal of traditional gender roles presented by Saki’s
contemporaries.
4.​ What is the role of nature's influence in the story?
Nature is frequently presented as at odds with the human characters in the story. For example,
the hunting party meets its supposed demise on account of poor weather conditions and a
muddy bog. In Vera’s final tale, Framton is also harassed by a pack of wild dogs. Finally,
Saki uses the landscape of the rural countryside as a setting for his macabre tale, showing that
nature is not always peaceful and serene: it also has a darker side.
5.​ Is Vera an antagonist or a protagonist? Explain.
Though Vera plays a cruel trick on Framton, she does not perfectly fit into the role of
antagonist. Conversely, though her trick is based on a morbid joke, Vera is presented as the
hero of the tale. She saves the reader from another boring rendering of an adult house visit.
Furthermore, she quickly disproves Framton’s doctor, who suggested a change in scenery
would cure him of his anxiety.
6.​ What does the window symbolize to the various characters of the story?
To Vera, the window is a blank canvas. She uses it to create a world separate from the dull
adult world she is forced to inhabit. Mrs. Sappleton views the window as the vessel that will
bring back her male companion and brothers. Though she complains about all the dirt they
will drag in, she also seems to wait on bated breath for the window to bring back the only
company she truly cares to keep. For Framton the window symbolizes the failure of his plan
to find a respite in the rural countryside, which is why he seeks to put so much distance
between himself and the window at the story’s end.
7.​ How does the omniscient narrator shape the short story?
The omniscient narrator functions almost as another character. Through him, Saki provides
clues to the readers, thereby suggesting that Vera is not such a trustworthy storyteller. Were
the story instead told from the perspective of Framton or Vera herself, it might have been
harder to dupe the reader. Moreover, the omniscient narrator in some ways is another way in
which Saki inserts himself into the story, a co-conspirator of sorts, laying the path for Vera’s
trickery.

QUESTIONS
0 multiple-choice questions on Saki's "The Open Window," along with their answers:
1.​ Why is Framton Nuttel visiting the countryside?
o​ A) To go hunting
o​ B) To visit relatives
o​ C) To rest and cure his nerves
o​ D) To write a book
Answer: C) To rest and cure his nerves
2.​ Who is the first person Framton meets at the Sappleton residence?
o​ A) Mrs. Sappleton
o​ B) Mr. Sappleton
o​ C) Vera
o​ D) The maid
Answer: C) Vera
 3.​ According to Vera's story, why is the window left open?
o​ A) To let in fresh air
o​ B) In anticipation of the return of Mrs. Sappleton's husband and brothers
o​ C) To enjoy the garden view
o​ D) To welcome guests
Answer: B) In anticipation of the return of Mrs. Sappleton's husband and brothers
4.​ What tragedy does Vera describe to Framton?
o​ A) A fire that destroyed the house
o​ B) A hunting accident that claimed the lives of Mrs. Sappleton's husband and
brothers
o​ C) A boating accident
o​ D) A lost child in the woods
Answer: B) A hunting accident that claimed the lives of Mrs. Sappleton's husband and
brothers
5.​ How does Framton react when he sees the men returning?
o​ A) He greets them warmly
o​ B) He faints
o​ C) He hurriedly leaves the house
o​ D) He hides behind the curtains
Answer: C) He hurriedly leaves the house
6.​ What is Vera's specialty, as hinted at the end of the story?
o​ A) Cooking elaborate meals
o​ B) Telling convincing stories
o​ C) Painting landscapes
o​ D) Playing the piano
Answer: B) Telling convincing stories
7.​ What does Framton's sister provide him before his visit?
o​ A) A letter of introduction to Mrs. Sappleton
o​ B) A map of the countryside
o​ C) A list of local doctors
o​ D) A book to read
Answer: A) A letter of introduction to Mrs. Sappleton
8.​ How long ago does Vera claim the "tragedy" happened?
o​ A) One year ago
o​ B) Two years ago
o​ C) Three years ago
o​ D) Four years ago
Answer: C) Three years ago
9.​ What does Mrs. Sappleton talk about during her conversation with Framton?
o​ A) The weather
o​ B) Her husband's hunting trip
o​ C) Local gossip
o​ D) Framton's health
Answer: B) Her husband's hunting trip
10.​What is the main theme of "The Open Window"?
o​ A) The power of storytelling and imagination
o​ B) The importance of honesty
o​ C) The dangers of hunting
o​ D) The benefits of rural life
Answer: A) The power of storytelling and imagination

Short Questions
short-answer questions based on "The Open Window" by Saki, along with their answers:
1.​ Why does Framton Nuttel visit the countryside, and what is his sister's role in his
visit to the Sappletons?
Framton Nuttel visits the countryside to undergo a "nerve cure" as prescribed by his doctors,
aiming to alleviate his nervous condition. His sister, concerned about his isolation, provides
him with letters of introduction to people she met during her stay in the area, including the
Sappletons, to encourage him to socialize.
quizlet.com
2.​ How does Vera's demeanor contribute to the credibility of her story to Framton?
Vera's self-possessed and confident demeanor makes her fabricated story about the open
window and the supposed tragedy involving her aunt's husband and brothers believable to
Framton. Her calmness and detailed narration lead him to accept her tale without suspicion.
enotes.com
3.​ What is the significance of the open window in the story?
The open window serves as a central symbol in the story. It represents the boundary between
reality and fiction, becoming the focal point of Vera's fabricated tale. The open window also
symbolizes the theme of appearance versus reality, as it is through this window that Framton's
perception is manipulated.
gradesaver.com
4.​ How does Framton react upon seeing the hunting party returning, and why?
Upon seeing the hunting party returning through the open window, Framton is horrified and
panics, believing them to be ghosts due to Vera's earlier story about their tragic death. His
immediate reaction is to flee the house in terror.
enotes.com
5.​ What explanation does Vera provide for Framton's sudden departure?
Vera concocts another story, claiming that Framton has a fear of dogs because of a traumatic
experience in India, where he was hunted by a pack of stray dogs and had to spend a night in
a newly dug grave. She suggests that the sight of the family's spaniel triggered his abrupt exit.
en.wikipedia.org
6.​ What does the story reveal about Vera's character?
The story portrays Vera as a clever, imaginative, and mischievous young woman. Her ability
to fabricate convincing stories on the spot and her enjoyment in deceiving others highlight
her penchant for storytelling and her manipulative nature.
en.wikipedia.org
7.​ How does Saki use irony in "The Open Window"?
Saki employs situational irony in the story. Framton visits the countryside seeking peace and
recovery for his nerves but instead encounters a situation that exacerbates his condition.
Additionally, the calm and seemingly innocent demeanor of Vera contrasts with her deceptive
actions, adding to the ironic twist.
enotes.com
8.​ What role does the setting play in the development of the story's plot?
The rural countryside setting provides an isolated and tranquil backdrop, which contrasts with
the unsettling events that unfold. The open window overlooking the garden becomes a pivotal
element, allowing Vera's fabricated story to seem plausible and setting the stage for Framton's
misunderstanding and subsequent panic.
gradesaver.com
9.​ How does Saki characterize adults in the story?
Saki portrays the adult characters, particularly Framton and Mrs. Sappleton, as gullible and
preoccupied with their concerns. Framton is depicted as nervous and easily deceived, while
Mrs. Sappleton is absorbed in her anticipation of the hunting party's return, oblivious to
Framton's discomfort. This characterization contrasts with Vera's cunning and perceptiveness.
gradesaver.com
10.​What is the effect of the story's ending on the reader?
The story's ending delivers a surprise twist, revealing Vera's penchant for concocting
spontaneous tales. This revelation prompts readers to reassess the preceding events and
recognize the layers of deception, highlighting themes of appearance versus reality and the
power of storytelling.

Long Answer Questions

long-answer questions based on Saki's "The Open Window," each accompanied by a
comprehensive analysis:
1.​ Discuss the role of deception in "The Open Window" and how it drives the
narrative.
Deception is central to Saki's "The Open Window," propelling the plot and adding depth to
the characters. Vera, a self-possessed young lady of fifteen, orchestrates the primary act of
deception. When Framton Nuttel visits the Sappleton residence, Vera fabricates a tragic story
about her aunt's husband and brothers who supposedly perished in a hunting accident three
years prior. She claims they were engulfed in a bog and that her aunt, Mrs. Sappleton, keeps
the window open, anticipating their return. This tale preys on Framton's nervous disposition,
setting the stage for the story's climax.
Vera's deception is meticulously crafted. She observes the open window and seamlessly
weaves it into her narrative, making it plausible for Framton. Her ability to concoct such a
story on the spot showcases her cunning nature. This act of deceit not only highlights Vera's
mischievous character but also serves as a commentary on the gullibility of individuals who
accept information without scrutiny.
The culmination of this deception occurs when Mrs. Sappleton's husband and brothers return
from their hunting trip. Framton, believing them to be ghosts due to Vera's story, hastily flees
the scene. This outcome underscores the power of storytelling and its ability to influence
perception and behavior. Saki uses this scenario to explore themes of reality versus illusion
and the impact of deception on human psychology.
2.​ Analyze the character of Vera in "The Open Window." What does her behavior
reveal about her personality?
Vera is portrayed as a clever and imaginative young woman with a penchant for storytelling.
Her behavior throughout "The Open Window" reveals several facets of her personality:
 o​ Inventiveness: Vera's ability to fabricate a detailed and convincing story about
her uncle and cousins' tragic fate demonstrates her creative flair.
o​ Manipulative Tendencies: She skillfully manipulates Framton's perceptions,
tailoring her story to exploit his nervous condition. This indicates a keen
awareness of others' vulnerabilities and a willingness to exploit them for her
amusement.
o​ Composure: Despite the gravity of her fabricated tale, Vera maintains her
composure, displaying no signs of deceit. This calm demeanor enhances the
credibility of her story.
o​ Mischievousness: Her actions suggest a mischievous streak, deriving
enjoyment from the chaos her stories create. This is evident when she concocts
another tale to explain Framton's abrupt departure, showcasing her quick
thinking and love for dramatic narratives.
Vera's behavior underscores themes of appearance versus reality and highlights the potential
for deceit lurking beneath a seemingly innocent exterior.
3.​ Examine the significance of the open window as a symbol in the story.
The open window in Saki's narrative serves as a multifaceted symbol:
o​ Portal Between Reality and Fiction: It represents the thin boundary between
reality and the fictional world Vera creates. Through this window, the
fabricated ghosts of Mrs. Sappleton's husband and brothers are expected to
return, blurring the lines between truth and illusion.
o​ Hope and Despair: For Mrs. Sappleton, the open window symbolizes hope
and anticipation of her family's return from hunting. Conversely, for Framton,
it becomes a source of terror, embodying the unexpected and the unknown.
o​ Deception: The window is the focal point of Vera's deceit, illustrating how
ordinary objects can be imbued with false significance through storytelling.
By centering the narrative around the open window, Saki emphasizes how perceptions can be
manipulated, leading to profound psychological effects on individuals.
4.​ How does Saki use irony to enhance the impact of "The Open Window"?
Irony permeates "The Open Window," enhancing its thematic depth and reader engagement:
o​ Situational Irony: Framton visits the countryside seeking tranquility for his
nerves but encounters a situation that exacerbates his condition. Instead of
finding peace, he is thrust into a distressing scenario crafted by Vera's
imagination.
o​ Dramatic Irony: The audience is privy to Vera's deceit before the characters
realize it, creating a layer of dramatic irony. This awareness heightens the
tension as readers anticipate the unfolding consequences of her tale.
 o​ Verbal Irony: Vera's name, derived from the Latin word for truth, is ironic
given her propensity for lying. This contrast between her name and actions
adds a subtle layer of irony to her character.
Saki's use of irony not only adds humor to the story but also serves to critique societal norms
and the ease with which individuals can be deceived.
5.​ Discuss the theme of appearance versus reality in "The Open Window."
"The Open Window" delves into the theme of appearance versus reality by showcasing how
easily perceptions can be distorted:
o​ Vera's Fabrication: Her concocted story presents a false reality that Framton
accepts without question, highlighting the fragility of human perception.
o​ Framton's Assumptions: His acceptance of Vera's tale without seeking
verification demonstrates how appearances can be misleading. He perceives
the open window as a symbol of tragedy based solely on Vera's account,
illustrating the subjective nature of reality.
o​ Mrs. Sappleton's Perspective: Unaware of Vera's story, Mrs. Sappleton's
casual demeanor contrasts sharply with Framton's anxiety, emphasizing the
disparity between appearance and underlying truth.
Saki uses these contrasting perceptions to explore the complexities of human psychology and
the ease with
 How does Saki employ narrative structure and point of view to enhance the impact
of "The Open Window"?
Saki utilizes a third-person limited omniscient point of view, primarily aligning the narrative
with Framton Nuttel's perspective. This choice allows readers to experience events and Vera's
fabricated story through Framton's eyes, heightening the story's suspense and the eventual
ironic twist. The limited perspective prevents readers from accessing Vera's true intentions
until the conclusion, thereby enhancing the story's surprise ending.
 Explore the theme of social conventions and their subversion in "The Open
Window." How does Saki critique Edwardian society through this narrative?
Saki critiques Edwardian society by highlighting its rigid social conventions and the ease
with which they can be subverted. Framton's visit, driven by formal introductions and societal
expectations, sets the stage for Vera's mischievous storytelling. Her ability to manipulate
these conventions exposes the superficiality of social interactions and the vulnerability of
individuals who adhere strictly to societal norms without critical thought.
 Analyze the role of setting in "The Open Window." How does the rural backdrop
contribute to the story's themes and character dynamics?
The rural setting provides a tranquil and seemingly safe environment, which contrasts sharply
with the unsettling events that unfold. This juxtaposition amplifies the story's tension and
highlights the unpredictability of human interactions. The serene countryside also serves as a
canvas for Vera's imaginative tale, making her story more plausible to Framton and thereby
enhancing the story's exploration of appearance versus reality.
 Discuss the significance of Vera's name in the context of the story. How does Saki use
this nominal irony to reinforce the narrative's themes?
Vera's name, derived from the Latin word for "truth," is an ironic choice given her propensity
for deceit. This nominal irony underscores the story's exploration of the blurred lines between
truth and fiction. By naming the deceptive character Vera, Saki highlights the ease with which
appearances can be manipulated, reinforcing the theme of appearance versus reality.
 Examine the psychological dimensions of "The Open Window." How does Saki
portray the impact of fear and imagination on human behavior?
Saki delves into the psychological effects of fear and imagination through Framton's
character. Vera's fabricated story preys on Framton's nervous disposition, leading him to
perceive ordinary events as supernatural occurrences. This portrayal illustrates how fear,
fueled by imagination, can distort reality and drive irrational behavior, emphasizing the
power of storytelling to influence perception.
 How does "The Open Window" reflect elements of Gothic literature, and to what
effect?
While not overtly Gothic, "The Open Window" incorporates subtle elements of the genre,
such as the eerie atmosphere created by the open window and the haunting tale of the lost
hunters. These elements evoke a sense of suspense and foreboding, which is subverted by the
story's ironic twist. Saki's use of Gothic motifs serves to satirize the genre and highlight the
absurdity of Framton's overactive imagination.
 Analyze the use of irony in "The Open Window." How does Saki's employment of
different forms of irony contribute to the story's overall impact?
Saki employs situational, dramatic, and verbal irony throughout the narrative. Framton's
retreat to the countryside for peace leads to further agitation (situational irony); readers are
aware of Vera's deceit while Framton remains oblivious (dramatic irony); and Vera's name
suggests truthfulness, contrasting with her deceptive nature (verbal irony). These layers of
irony enrich the narrative, adding depth and enhancing the story's satirical tone.
 Discuss the role of gender dynamics in "The Open Window." How do Vera's actions
challenge contemporary gender expectations?
Vera's assertiveness and cunning challenge the traditional passive and submissive roles
expected of young women in Edwardian society. Her dominance in the interaction with
Framton subverts gender norms, presenting her as a powerful and autonomous character. Saki
uses Vera's actions to critique societal expectations and highlight the complexities of
individual behavior beyond prescribed roles.
 Explore the motif of storytelling within "The Open Window." How does Saki
comment on the nature and power of storytelling through Vera's character?
Through Vera's character, Saki examines storytelling as a tool for manipulation and
entertainment. Her spontaneous creation of a convincing narrative demonstrates the power of
stories to shape perceptions and elicit emotional responses. Saki's portrayal of Vera's
storytelling abilities underscores the influence of narrative on reality and the susceptibility of
individuals to well-crafted tales.
 How does "The Open Window" address the concept of escapism, and what
commentary does Saki offer on this human tendency?
Framton's visit to the countryside represents an attempt to escape the stresses of urban life
and his nervous condition. However, his encounter with Vera's fabricated story leads to
further distress, suggesting that escapism can be futile or even counterproductive. Saki's
narrative implies that seeking refuge from reality does not guarantee peace, as one's inner
turmoil or external manipulations can infiltrate any sanctuary