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These plOIS are all of imported origin, the lack of any locally-composed counterpan
possibly signifying the former's adequate treatment and responsiveness 10 the concern.
Their setting, 10 ewfoundlanders, is "local" enough: typically, the lovers step on stage
only lO "shake hands and kiss each other good-by" as the man is going to sea. This
expression of love is sometimes accompanied by vows of fidelity; other limes the sailor is
gone already and the maid is introduced alone. Whatever, the narrative focus is on the
woman and her moral ability (or lack of it) to keep the couple's promise of marriage.
Parting leaves maidens "broken-hearted," and hardly less so than when they recognize their
lover's body washed ashore--for a long time an all too familiar event on the outpon scene.
The commonplace also receives various emphatic expressions, which all speak for the
hardship of her indefinite waiting in steadfast hope of her lover's safe return. Three
different plot strands develop from this critical situation, their structure revealing some
coherent sense; like any initiate to adulthood proofed in the liminal stage of the rilllal
process, the woman enduring her lone and taxing waiting is put to the test··that of fidelity:
safe return
waiting for return
fidelity (test)
recognilion (ring)
marriage
bereavement
wailing for return
fidelity (vows)
recognition of txxiy (ring)
reunion in death
desertion
waiting for return
infidelity (brokcn vows)
recognition (at wedding)
mortal grief
A synthetic consideration of the three differcnt plots emerging from the common situation
of the maid's waiting gives an insight into the moral standards by which her performance is
valucd. Her staunch fidelity is rewarded by reunion in life or death (I and 2) whereas her
giving up hope to see her lover back, even with reason, compromises her chances of any
union, whether in life or death.