Clara Vaughan, Volume 2 (of 3) — Reading Notes

(0 User reviews)   1256
Blackmore, R. D. (Richard Doddridge), 1825-1900 Project Gutenberg 2012 Not confirmed
Mystery fiction; Murder victims' families -- Fiction Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 71,259
Reading time 310 min
Text sections 9

For Clara Vaughan, Volume 2 (of 3) — Reading Notes, the stored edition analysis reports 71,259 words, 5 hr 10 min estimated reading time, and 9 detected text sections.

The text analysis averages about 17.5 words per sentence, while the detected sections provide another way to judge how the source is divided.

Project Gutenberg metadata also associates the work with “Mystery fiction,” connecting these edition facts with the source record’s subject description.

In Volume 2 of R. D. Blackmore's mystery novel, Clara Vaughan's pursuit of her father's murderer intensifies as she navigates family secrets, shifting settings, and a detective's manipulations. The narrative moves between rural Barton and a decaying mansion, with recurring images of firelight, pistols, and paralysis.
Share
Editorial Edition Score 4.7/5

Calculated from edition completeness, EPUB availability, text structure and catalogue metadata. Not a user rating.

How this score is calculated
  • Description quality20 pts
  • Title & short description10 pts
  • Source metadata20 pts
  • Text length15 pts
  • Chapters / structure15 pts
  • EPUB file integrity20 pts

Total of 100 points, scaled to a 2.5-5.0 range. Editions with an empty description or a missing EPUB file are not scored.

Edition quality

Read the Text

Late in the evening of that same day, I sat in my room by the firelight only (for I could not work) and tried to look into myself, and find out the cause of my strange attraction or rather impulsion towards Isola. Somehow or other I did not wonder so much that she should be drawn quite as strongly towards me, although an impartial observer would perhaps have wondered far more. Alter puzzling myself in vain with this inquiry, my thoughts began to move, in their usual gloomy train.

Eight years had now elapsed, and what had I discovered? Nothing; but at long dark intervals some impress of the deed itself, more than of the doer. Had I halted in pursuit, or had my vengeance cooled? To the former question my conscience answered "yes," to the latter "no." Gentle influences had been shed around me, sorrow had bedewed the track of hate, intercourse with happy harmless people, and gratitude for unmerited kindness; it was not in human nature, however finely constitute for evil, entirely to repulse these powers.

I could not deny, that the religion of my heart, during the last twelvemonth, had been somewhat neglected. For my devotion to dear mother, no plea was required. But the time since that, what business had I with laughing children, and snug firesides, with dickybirds, and Sandy the squirrel? Even sweet Isola caused me a pang of remorse; but no, I could not quite abandon her. But now, thank God, I was in the right road again, and plodding resolutely as my father could expect. To his spirit, ever present with me, I knelt down and poured out my remorse; and swore to make amends, whatever it might cost me. Yet even then, a gentle shadow seemed to come as well, and whisper the words that calmed the face of death.

My musings, if so mild a word may suit them, were roughly interrupted by a loud step on the stairs. Inspector Cutting, who could walk when needful like a cat, loved to redress this injury to the Goddess Echo, by making double noise when not on business. Farmer Huxtable, a man of twice the weight, would have come up those stairs at half the expense in sound.

When he entered the room, he found himself in a semi-official state again, and I saw that he was not come for nothing. In a few brief words, he told me what he had done, which was not very much; or perhaps my suspicion was right, that he only told me a part of it. Then he said abruptly,

"Miss Valence, I know pluck when I see it."

"What do you mean, Mr. Cutting?"

"Excuse me, I forgot that you have been reared in the country. What I mean is, that I believe you possess an unusual share of courage."

"As to that, I cannot say, having never been severely tried; but in such a cause as mine, I could go through a good deal."

"And not lose your presence of mind, even in real danger?"

"That again I cannot say, and for the same reason. But I am quite ready to make the trial."

I felt the colour mounting in my cheeks. How glad I should be to prove to myself that I was not ignoble. He observed me closely, and appeared quite satisfied.

"What I have to propose to you, is attended with no little danger."

"I will do my utmost not to be afraid. I am more impulsive perhaps than brave, but what is life worth to me? I will try to think of that all the time. No doubt you have a good reason for exposing me to danger."

"Certainly I have, Miss Valence. For your own purpose it is most important that you should be able to identify certain persons, whom I shall show you to-night; that is, unless I am misinformed."

"To-night! so late as this?" And I began to tremble already.

"Yes, we must go to-night, or wait for another fortnight; and then it would be no earlier, even if we got such a chance again. And for your sake it is better than to be in a fright for a fortnight."

"Inspector Cutting, I am in no fright whatever. At least I mean no more so than any other girl would be, who felt a vague danger impending. I hope and trust that my father’s memory and the justice of God will be with me."

Volume 2 of Clara Vaughan opens with Clara alone in her room by firelight, trying to understand her attraction to Isola. The scene establishes a pattern of introspection and movement: Clara's thoughts shift from self-examination to the eight-year-old murder, then to remorse for having softened. The arrival of Inspector Cutting, whose heavy step contrasts with his catlike stealth, introduces a structural rhythm of interruption and revelation. Blackmore uses physical details—firelight, a loud step, a quiet pony—to mark transitions between Clara's internal struggles and external action.

Firelight and Interruption

Clara's first scene in this volume is lit only by firelight, a recurring image that signals private reflection. She cannot work, and her thoughts move from Isola to the murder, then to guilt for having been distracted by “laughing children, and snug firesides, with dickybirds, and Sandy the squirrel.” The firelight creates a confined, introspective space that is repeatedly broken by external forces: Cutting's loud step, the news of her uncle's illness, and later the vast, unfamiliar rooms of Vaughan House. This pattern of quiet contemplation shattered by intrusion drives the narrative forward.

The Detective's Footsteps

Inspector Cutting is a figure of controlled noise. He “could walk when needful like a cat” but deliberately makes “double noise when not on business.” This detail reveals his theatricality and manipulation. He tells Clara only part of what he has done, and his abrupt compliment—“Miss Valence, I know pluck when I see it”—is a calculated probe. Cutting's movements and speech are tools of investigation, and Clara's responses to him show her growing wariness. The contrast between his heavy tread and Farmer Huxtable's lighter step underscores the difference between genuine country solidity and Cutting's performative authority.

The Frozen Uncle

Clara's uncle is described in a striking image: found “bolt upright in his study chair, and fully dressed, with two pistols, loaded and cocked, on the table, no sign of life in his face or pulse, his body stiff yet limp, like a sand-bag tightly stuffed.” This tableau of paralysis and readiness recurs throughout the volume. The uncle's condition—catalepsy giving way to paralysis—mirrors Clara's own emotional state: frozen between vengeance and gentleness. The detail of the pistols, cocked but unused, echoes the unresolved murder and the threat of violence that hangs over the household.

Rooms and Recollection

When Clara returns to Vaughan House, the rooms appear “vast” and “endless” after the smaller spaces of Tossil's Barton and Mrs. Shelfer's. She hurries to her mother's former rooms, where a lamp and fire are lit, and finds Matilda Jenkins, a servant who has risen from scullery-maid to under-housemaid. The contrast between the familiar western wing and the alienated rest of the house reflects Clara's displacement. Blackmore uses spatial details—the length of passages, the arrangement of parlour and bedroom—to map Clara's emotional geography: she is both insider and outsider, measuring every step as if relearning her own past.

Readers attentive to structure will notice how Blackmore alternates between Clara's solitary musings and scenes of confrontation or revelation. The firelight, the detective's footsteps, the frozen uncle, and the shifting rooms are not mere decoration but structural markers of Clara's psychological journey. This volume rewards careful attention to recurring images and the movement between intimate and public spaces, as each transition deepens the mystery of the father's murder and Clara's own divided loyalties.

There’s a particular ache in watching Clara chase certainty through all that fog and firelight—how the truth keeps slipping just past her lantern. I remember that same restlessness lingering after A Lost Cause — A Reader’s Guide, that quiet weight of questions no one answers. Both books leave you sitting with the hush after the last page, remembering your own half-lit corridors. A Lost Cause — A Reader’s Guide stayed with me like that.

There are no reviews for this eBook.

0
0 out of 5 (0 User reviews )

Add a Review

Your Rating *
There are no comments for this eBook.

Reader reflection

What was your reading experience?

Capture what you thought, learned, and would like to remember.

Your progress 0 / 10
1

How far have you progressed with this book?

2

What was your overall reaction to the book?

3

Would you recommend this book to another reader?

4

How demanding did the text feel?

Related eBooks