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The wound in Menolly’s hand becomes infected, and she is unconscious for days with a fever. Her mother fears that the arm will have to be amputated, but Menolly finally begins to recover. When the unconscious girl pleads to be allowed to “play just once more, just once again” (45), Mavi regrets her decision to ban Menolly from playing music. Similarly, Yanus feels disquieted when Elgion praises whoever taught the children after Petiron’s death. The narrative also reveals that Masterharper Robinton has shown Menolly’s songs to Elgion, who must now seek out the unknown musician behind them. Although Elgion recognizes the composer’s skills, he is unable to discover their identity. One of Elgion’s main responsibilities is to gradually shift Half-Circle’s staid focus on tradition and encourage the holders “to examine new ideas and ways” (48). For example, he wants to help Yanus think beyond the needs of his own Hold and take a greater interest in Pern as a whole.
After Menolly’s fever breaks, everyone avoids mentioning music around her because her hand no longer has the dexterity needed to play instruments. She spends most of her time outside of the Hold, gathering plants by herself. The spring brings abnormally high tides, and one day, Menolly returns to the place where she found the fire lizards and sees them again. This time, the creatures are alarmed by the rising sea levels. While trying to get a closer look at the fire lizards, Menolly falls off a cliff and lands on the beach. Although she is unhurt by her fall, she struggles to make her way back up. The fire lizard queen has a clutch of eggs nearby and scratches the girl’s cheek when she tries to scale the cliff.
Menolly attempts to soothe the queen by singing, and more fire lizards flock to the sound of her voice with “a flutter of surprised and excited chirpings” (57). Eventually, Menolly realizes that the fire lizard queen wants her to help transport the eggs into a little tunnel halfway up the cliffside before the tide sweeps them away. After the girl relocates all of the eggs to safety, she climbs up the rest of the cliff and marvels at how the fire lizard queen understood her. Menolly has been favoring her left hand, but the exercise of climbing and carrying the eggs increases her range of motion. She begins to hope that she’ll be able to play an instrument again, and she thanks the fire lizard queen.
As Menolly lies in bed that night, she reflects on her second encounter with the fire lizards. The adventure fills her with joy but also raises many questions about how the queen understood her and whether she’ll be able to return to the cliff to see the eggs hatch despite the increasing frequency of Threadfall. The next day, a storm keeps everyone inside the Hold, and Harper Elgion performs in the Great Hall. Menolly already feels troubled about listening to music when she can’t play, and she feels deeply upset when her mother pinches her and tells her to sing quietly or not at all. Feeling as though her parents don’t want her, Menolly leaves the hall and hides.
Early the next morning, Menolly sneaks out of the Hold and leaves its heavy metal doors unbarred, which violates the Hold’s safety rules. The weather is foggy, but she doesn’t think much of it. She fills her bag with spiderclaws, which she intends to use as a gift to the fire lizards. Menolly doesn’t think that anyone in the Hold will notice that she’s gone until they find some onerous chore for her to do, and she begins to dream of running away because then she’d be “able to sing or shout or roar or play if she so chose” (69). However, her daydream is spoiled when she remembers the Thread.
Suddenly, the sky fills with gray spores and flashes of fire as dragons hasten to burn the Thread to ash. Menolly is now too far from the Hold to reach it before the Thread descends, so she climbs into the fire lizards’ cliffside cavern. The creatures emit a “soft rhythmic thrumming” (70) as the eggs begin to hatch. To Menolly’s horror, many of the newborn fire lizards leave the cavern and fly directly into the falling spores in search of food. She manages to keep some of the hatchlings inside the cave and alive by feeding them spiderclaws until the Threadfall stops. Menolly is able to feel the little lizards’ great hunger, but this sensation abates somewhat when the queen leads her entire flock away on a flight. Exhausted, Menolly lies down in the cave and falls asleep.
The narrative moves to Half-Circle Sea Hold. Menolly’s absence isn’t discovered until her older sister, Sella, wants her to look after Old Uncle. When her family realizes that she was out during Threadfall, even Yanus feels anxious about her safety. However, Menolly’s relatives take comfort in Elgion’s suggestion that she could be safe in a cave. Her older brother, Alemi, fiercely defends her intelligence and character when some members of the Half-Circle community imply that she is foolish and has brought trouble upon herself. Yanus asks everyone to keep an eye out for any trace of Menolly while they go about their usual work, but he does not send out a search party. This decision surprises Elgion, who offers to look for the girl. In private, Alemi tells the Harper, “I think she’s alive and better off wherever she is than she would be in Half-Circle” (82).
Elgion is troubled that the Sea Holder won’t search for his own child. He realizes that he has never met Menolly and that the other members of the Hold are oddly secretive and resentful toward her. Elgion is no closer to discovering the identity of the mysterious songwriter, whom he is supposed to send to the Harper Craft Hall for training because songmakers are “[s]omething to be sought and cherished” (84). A dragonrider named N’ton asks Elgion to recruit some of the Hold’s boys and look for fire lizards because the creatures can bond with humans just like dragons can. Elgion agrees and tells the dragonrider about the missing girl.
The narrative moves forward in time and returns to Menolly. As the days pass, she makes a hearth, a bed, and clay vessels for her new home in the fire lizards’ cavern. Nine of the hatchlings imprint or “Impress” on her, and she can feel their love for her through their psychic link. She spends much of her time finding food for them and playing music for them on a pipe made of reeds. When some of the hatchlings develop skin lesions, Menolly kills a bird called a wherry and uses its blubber to prepare an ointment. While cleaning the carcass, she thinks about the fire lizard queen and is surprised when the queen and her flock appear.
As time passes, Menolly begins to notice the hatchlings’ distinctive personality traits. She names the somewhat pitiful blue fire lizard Uncle, the short-tempered green lizards Auntie One and Auntie Two, the bronze lizards Rocky and Diver, and the brown lizards Lazybones, Mimic, and Brownie. She calls the tiny golden queen Beauty and notes that she is as “imperious and demanding as a Sea Holder” (96). The hatchlings adore her singing and pipe-playing and hum along to her tunes.
The narrative shifts to Half-Circle Sea Hold. Elgion shows Alemi the songs that Petiron sent to Masterharper Robinton, and Alemi obeys his father’s wishes by feigning ignorance of the songwriter. When the Harper declares that Robinton wants the songs to be performed, Alemi regrets keeping his sister’s identity a secret. Elgion surmises that the songmaker did something to find disfavor in the Hold but will “surface to the sound of his own music” (100). The two young men grow close, drawn together by Alemi’s great curiosity about the world and Elgion’s readiness to share what he knows.
At the Harper’s request, Alemi teaches him how to sail, and they head for the Dragon Stones. Elgion tells Alemi about N’ton’s request, and Alemi is excited because he once saw fire lizards. As they near the fire lizards’ cave, Elgion hears someone playing the pipes. He realizes, “Your sister, the one who’s missing. She wrote those songs” (107). Alemi admits the truth of his words, but he thinks that they must be hearing the wind because he doesn’t think that Menolly can play music with her injured hand. Elgion is aggrieved over the way Menolly’s parents have treated her gifts like something shameful, and he wishes that Petiron had told Masterharper Robinton about the girl so that she could have been brought to Harperhall right away. A few days later, Elgion sets out to search the cliffs for the mysterious piper.
In this section, Menolly gains a new sense of Empowerment Through Self-Expression as she leaves behind the restrictions of Half-Circle Sea Hold and more fully embraces her musical talents in her everyday life. The new life that she creates for herself radically defies the lessons and fears that her upbringing instilled in her, and she revels in the fact that she can survive on her own during Threadfall, which contrasts with the fact that “Hold thinking had hardened into an inflexible rule—to have no shelter during Threadfall was to experience death” (91). While the holders think that leaving Half-Circle is a death sentence, these weeks of freedom give Menolly a new lease on life. Her survival disproves Half-Circle’s teachings, giving her the confidence to challenge them in other ways, especially by pursuing her passion for music. The protagonist gains happiness and a sense of fulfillment now that she is able to “to sing or shout or roar or play” (69) whenever she pleases.
Menolly’s time among the fire lizards represents an important stage in her personal development, because she takes the time to heal from the abuses of her upbringing and gains the strength to move toward her ultimate goal of becoming a Harper. Although she currently lacks access to formal training, her isolation gives her a safe space to rekindle her love of music without having to endure others’ judgments and prejudices. In moments like the rescue of the fire lizard eggs and the construction of her new reed pipes, Menolly’s budding empowerment shines through in her growing courage and confidence as she flourishes away from the confines of Half-Circle Sea Hold.
As a counterpoint to Menolly’s solo adventures, Harper Elgion takes on the onerous task of dealing with Half-Circle Sea Hold’s deep-held prejudices and tackles The Struggle Against Oppressive Societal Norms. Yanus and Mavi’s misogynistic belief that “the Sea Hold [is] disgraced to have a girl taking the place of a Harper” (108) remains a key component of their motivation for thwarting Elgion’s search for the mysterious musician. In an effort to keep Menolly from the new Harper’s notice, their unjust demands on their daughter escalate until they refuse to let her exercise her musical abilities around other people at all. In what turns out to be Menolly’s last night in Half-Circle Sea Hold, her negative experiences during Elgion’s performance in Chapter 5 make her feel so unwanted that she no longer has any desire to remain. In the days after her disappearance from the hold, McCaffrey uses the character of Elgion to reveal the full extent of the cultural restrictions that throttle freethinking and independence in Half-Circle Sea Hold; his growing frustration with Yanus makes it clear that this particular community is more restrictive than other places in Pern. The relatively progressive stance of the Harper also becomes evident when Elgion does not see Menolly’s gender as an obstacle to her potential as a Harper. His determination to ensure that she receives the recognition and opportunities she deserves makes him an ally to the protagonist, even though the two have never directly interacted.
Although Menolly spends much of her time away from other humans in these chapters, the sense of belonging that she finds among the fire lizards advances the novella’s focus on The Role of Mentorship and Community in Personal Development. Although she is telepathically linked only to the hatchlings, not to the older fire lizards, they all serve as her companions in an otherwise isolated situation. In the case of the hatchlings, the peculiar sense of society that she feels due to her telepathic connection to the creatures encourages her to embrace her most authentic self as she learns to survive beyond the walls of the hold. The fire lizards’ company makes Menolly healthier both physically and emotionally, and just as the girl saves the fire lizard eggs and protects many of the hatchlings from the Thread, the creatures’ cave shelters her from the deadly spores. Additionally, taking care of the hatchlings teaches her that “she was able to do a lot more than she’d suspected she could” (90), and her kinship with the fire lizards shields her from loneliness and keeps her from returning to the hold out of sheer desperation. As the fire lizards offer Menolly physical shelter, community, and opportunities for growth, their role as a substitute for human community becomes a prominent aspect of Menolly’s self-imposed exile.
Basking in the freedom of her new lifestyle, Menolly’s attitude toward music also shifts dramatically. While she was in the hold, listening to others make music while she was forbidden to join in became a torment for her. However, once she is left to her own devices, music once again becomes a source of joy and empowerment. For instance, she has “fun” building a set of five reed pipes, even though, not long ago, she thought that she might never play an instrument again. By reclaiming her ability to make music, Menolly improves her emotional well-being and gains a new sense of self-esteem.
McCaffrey’s strategic use of symbols also enhances the dominant narrative, and in this section eggs emerge as a representation of hope and new beginnings. In a literal sense, eggs contain new lives, such as the hatchlings Menolly rescues, and in Menolly’s case, the emergence of these new lives ushers in a fresh start in her own life. When Menolly relocates the eggs and bonds with the fledglings, she launches a new stage of her life and embraces a transformative and liberating period.



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