Miss Marjoribanks — Reading Notes
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This digital edition of Miss Marjoribanks — Reading Notes is described by source-level measurements including 210,770 words, 15 hr 17 min estimated reading time, and 16 detected text sections.
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Project Gutenberg metadata also associates the work with “Love stories,” connecting these edition facts with the source record’s subject description.
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Marjoribanks was too busy a man to waste his feelings on a mere sentiment. His daughter, however, was only fifteen, and had floods of tears at her command, as was natural at that age. All the way home she revolved the situation in her mind, which was considerably enlightened by novels and popular philosophy--for the lady at the head of Miss Marjoribanks school was a devoted admirer of _Friends in Council_, and was fond of bestowing that work as a prize, with pencil-marks on the margin--so that Lucilla's mind had been cultivated, and was brimful of the best of sentiments. She made up her mind on her journey to a great many virtuous resolutions; for, in such a case as hers, it was evidently the duty of an only child to devote herself to her father's comfort, and become the sunshine of his life, as so many young persons of her age have been known to become in literature. Miss Marjoribanks had a lively mind, and was capable of grasping all the circumstances of the situation at a glance. Thus, between the outbreaks of her tears for her mother, it became apparent to her that she must sacrifice her own feelings, and make a cheerful home for papa, and that a great many changes would be necessary in the household--changes which went so far as even to extend to the furniture. Miss Marjoribanks sketched to herself, as she lay back in the corner of the railway carriage, with her veil down, how she would wind herself up to the duty of presiding at her papa's dinner-parties, and charming everybody by her good humour, and brightness, and devotion to his comfort; and how, when it was all over, she would withdraw and cry her eyes out in her own room, and be found in the morning languid and worn-out, but always heroical, ready to go downstairs and assist at dear papa's breakfast, and keep up her smiles for him till he had gone out to his patients. Altogether the picture was a very pretty one; and, considering that a great many young ladies in deep mourning put force upon their feelings in novels, and maintain a smile for the benefit of the unobservant male creatures of whom they have the charge, the idea was not at all extravagant, considering that Miss Marjoribanks was but fifteen. She was not, however, exactly the kind of figure for this _mise en scène_. When her schoolfellows talked of her to their friends--for Lucilla was already an important personage at Mount Pleasant--the most common description they gave her was, that she was "a large girl"; and there was great truth in the adjective. She was not to be described as a tall girl--which conveys an altogether different idea--but she was large in all particulars, full and well-developed, with somewhat large features, not at all pretty as yet, though it was known in Mount Pleasant that somebody had said that such a face might ripen into beauty, and become "grandiose," for anything anybody could tell. Miss Marjoribanks was not vain; but the word had taken possession of her imagination, as was natural, and solaced her much when she made the painful discovery that her gloves were half a number larger, and her shoes a hair-breadth broader, than those of any of her companions; but the hands and feet were both perfectly well shaped; and being at the same time well clothed and plump, were much more presentable and pleasant to look upon than the lean rudimentary schoolgirl hands with which they were surrounded. To add to these excellences, Lucilla had a mass of hair which, if it could but have been cleared a little in its tint, would have been golden, though at present it was nothing more than tawny, and curly to exasperation. She wore it in large thick curls, which did not, however, float or wave, or do any of the graceful things which curls ought to do; for it had this aggravating quality, that it would not grow long, but would grow ridiculously, unmanageably thick, to the admiration of her companions, but to her own despair, for there was no knowing what to do with those short but ponderous locks. These were the external characteristics of the girl who was going home to be a comfort to her widowed father, and meant to sacrifice herself to his happiness. In the course of her rapid journey she had already settled upon everything that had to be done; or rather, to speak truly, had rehearsed everything, according to the habit already acquired by a quick mind, a good deal occupied with itself. First, she meant to fall into her father's arms--forgetting, with that singular facility for overlooking the peculiarities of others which belongs to such a character, that Dr Marjoribanks was very little given to embracing, and that a hasty kiss on her forehead was the warmest caress he had ever given his daughter--and then to rush up to the chamber of death and weep over dear mamma. "And to think I was not there to soothe her last moments!" Lucilla said to herself, with a sob, and with feelings sufficiently real in their way. After this, the devoted daughter made up her mind to come downstairs again, pale as death, but self-controlled, and devote herself to papa. Perhaps, if great emotion should make him tearless, as such cases had been known, Miss Marjoribanks would steal into his arms unawares, and so surprise him into weeping. All this went briskly through her mind, undeterred by the reflection that tears were as much out of the Doctor's way as embraces; and in this mood she sped swiftly along in the inspiration of her first sorrow, as she imagined, but in reality to suffer her first disappointment, which was of a less soothing character than that mild and manageable grief.
Mrs. Oliphant's Miss Marjoribanks opens with a death that is less an emotional crisis than a logistical inconvenience. The narrator reports that when Mrs. Marjoribanks died, 'no one, except her maid, whose occupation was gone, could have found out much difference.' This blunt calibration of loss—measured by the maid's lost occupation—sets the tone for a novel that consistently treats sentiment as a resource to be managed. The catalog subjects 'Love stories' and 'Bildungsromans' suggest a conventional arc of romantic and personal development, but the excerpts show a heroine, Lucilla, who approaches courtship as a series of tactical problems and whose 'growth' is expressed in her increasing skill at orchestrating social outcomes. The narrator's cool, ironic voice undercuts any expectation of earnest self-discovery.
A Heroine Who Manages, Not Matures
The Bildungsroman label implies a story of inner transformation, but Lucilla Marjoribanks shows little interior change across the excerpts. At fifteen, she 'revolved the situation in her mind, which was considerably enlightened by novels and popular philosophy'—a phrase that suggests her worldview is already a finished product, assembled from reading. Later, when her father shows unexpected attention to a widow, Lucilla's response is not jealousy but a calculation of risk: 'it was doubtful whether even Miss Marjoribanks's magnanimity could have got over any ridiculous exhibition of interest on the part of her father.' The narrator consistently presents Lucilla's emotions as strategic choices. She 'meant every word she said' about wanting the widow married, but her father misreads this as 'policy and high art.' The novel's interest lies not in how Lucilla changes, but in how she applies a fixed set of social principles to ever more complex situations.
The Narrator's Ironic Calibration
The catalog subject 'Love stories' is complicated by the narrator's persistent deflation of romantic expectation. When Lucilla soothes a distressed visitor, the narrator notes that 'by the time tea was ready, and Dr Marjoribanks had come upstairs, she had so managed to soothe her visitor's nerves, and console her spirits, that the Doctor himself grew complimentary.' The word 'managed' is typical: emotional states are things to be arranged, not felt. The narrator also uses a distinctive technique of understatement, as when Mrs. Marjoribanks 'devoted all her powers, during the last ten years of her life, to the solacement and care of that poor self which other people neglected.' The mock-heroic phrasing ('solacement and care of that poor self') turns self-absorption into a kind of domestic labor. These verbal habits create a world where grand feelings are always slightly ridiculous, and where the real drama is in the gap between what characters say and what the narrator implies.
Carlingford as a Stage, Not a Setting
The excerpts offer little of the physical Carlingford that appears in other Chronicles; instead, the town functions as a social grid. Lucilla's actions are described in theatrical terms: she 'picked up' the widow as 'a stroke of talent,' and her father's behavior is 'an exhibition of interest.' The narrator treats social life as a performance with stakes—Lucilla restrains herself from 'a tempting allusion which would have made an end of Mrs Mortimer,' suggesting that words are weapons. The 'Young women -- England -- Fiction' catalog subject is accurate but incomplete: the novel's focus is less on a young woman's experience of England than on her manipulation of its social codes. The excerpts show no landscape, no weather, no rooms described for atmosphere—only the furniture of interaction: tea, visits, conversations that are really negotiations. Carlingford is a stage where Lucilla directs, and the narrator provides the sardonic program notes.
Readers expecting a conventional love story or a heroine's sentimental education will find instead a novel that treats those genres as raw material for comedy. The excerpts reward attention to the narrator's precise, ironic diction and to the way Lucilla's 'best of sentiments' are always just slightly out of sync with her actions. The full novel likely extends this pattern across many more social maneuvers; the excerpts suggest that the pleasure lies in watching the machinery of Carlingford society operate under Lucilla's management, not in any resolution of feeling.
There’s something oddly consoling about a heroine who treats hearts like chess pieces, yet never once loses her own warmth. That quiet, knowing tension reminded me of another story that lingers the same way—Inchbracken: The Story of a Fama Clamosa — Story, Setting & Ideas, where rumor becomes its own kind of slow, creeping character. I keep thinking of both, not for plot, but for their strange, familiar ache.
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