Studies in Wives — A Closer Reading

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Lowndes, Marie Belloc, 1868-1947 Project Gutenberg 2012 Not confirmed
Short stories, English; Marriage -- Fiction; Wives -- Fiction Readers of public-domain and historical texts
Project Gutenberg digital edition en

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Words 65,432
Reading time 285 min
Text sections 6

This digital edition of Studies in Wives — A Closer Reading is described by source-level measurements including 65,432 words, 4 hr 45 min estimated reading time, and 6 detected text sections.

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

Six stories examining marital dynamics through precise social observation, focusing on wives navigating duty, desire, and independence in early 20th-century England. Lowndes contrasts public decorum with private tension, using domestic settings and psychological detail.
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She had heard the door open, the unfolding of the tea-table, the setting down of the tea-tray, but her thoughts had been far away from the old house in Westminster which was now her home; her thoughts had been in Newcastle, dwelling for a moment among the friends of her girlhood, for whom she had been buying Christmas gifts that afternoon.

The footman's cough recalled her to herself, and to the present.

"Am I to say that you are at home this afternoon, ma'am?"

Althea's thoughtful, clear eyes rested full on the youth's anxious face. He had not been long in the Scropes' service, and this was the first time he had been left in such a position of responsibility, but Dockett, the butler, was out, a rare event, for Dockett liked to be master in his master's house. Before the marriage of Perceval Scrope, Dockett had been Scrope's valet, and, as Althea was well aware, the man still regarded her as an interloper. Althea did not like Dockett, but Perceval was very fond of him, and generally spoke of him to his friends as "Trip." Althea had never been able to discover the reason of the nickname, and she had not liked to ask; her husband often spoke a language strange to her.

"I will see Mr. Bustard if he comes," she said gently.

Dockett would not have disturbed her by asking the question, for Dockett always knew, by a sort of instinct, whom his master and mistress wished to see or to avoid seeing.

Again she turned and stared out of the high, narrow, curtainless windows. Perceval Scrope did not like curtains, and so of course there were no curtains in his wife's drawing-room.

Snow powdered the ground. It blew in light eddies about the bare branches of the trees marking the carriage road through St. James's Park, and was caught in whirling drifts on the frozen sheet of water which reflected the lights on the bridge spanning the little lake. Even at this dreary time of the year it was a charming outlook, and one which most of Althea's many acquaintances envied her.

And yet the quietude of the scene at which she was gazing so intently oppressed her, and, suddenly, from having felt warm after her walk across the park, Althea Scrope felt cold.

She moved towards the fireplace, and the flames threw a red glow on her tall, rounded figure, creeping up from the strong serviceable boots to the short brown skirt, and so to the sable cape which had been one of her husband's wedding gifts, but which now looked a little antiquated in cut and style.

It is a bad thing--a sign that all is not right with her--when a beautiful young woman becomes indifferent to how she looks. This was the case with Althea, and yet she was only twenty-two, and looked even younger; no one meeting her by chance would have taken her to be a married woman, still less the wife of a noted politician.

She took off her fur cape and put it on a chair. She might have sent for her maid, but before her marriage she had always waited on herself, and she was not very tidy--one of her few points of resemblance with her husband, and not one which made for harmony. But Mrs. Scrope, if untidy, was also conscientious, and as she looked at the damp fur cloak her conscience began to trouble her.

She rang the bell. "Take my cloak and hang it up carefully in the hall," she said to the footman. And now the room was once more neat and tidy as she knew her friend, Mr. Bustard, would like to see it.

It was a curious and delightful room, but it resembled and reflected the woman who had to spend so much of her life there as little as did her quaint and fanciful name of Althea. Her husband, in a fit of petulance at some exceptional density of vision, had once told her that her name should have been Jane--Jane, Maud, Amy, any of those old-fashioned, early Victorian names would have suited Althea, and Althea's outlook on life when she had married Perceval Scrope.

Althea's drawing-room attained beauty, not only because of its proportions, and its delightful outlook on St. James's Park, but also because quite a number of highly intelligent people had seen to it that it should be beautiful.

In the opening of "Althea's Opportunity," the first story in this collection, a discreet cough from a footman jolts Althea Scrope from her thoughts. She has been standing at a curtainless window—her husband dislikes curtains—gazing at a snowy St. James's Park. The scene establishes a pattern visible across these six stories: a wife's interior life is interrupted by the demands of household management, and her environment reflects her husband's preferences, not her own. Lowndes builds tension through small, telling details: the butler Dockett, who was once her husband's valet, still regards Althea as an interloper. The narrative voice stays close to the wife's perspective, registering her discomfort without overt commentary.

Husbands and Their Habits

Across the excerpts, husbands exert control through seemingly minor preferences. Perceval Scrope dislikes curtains, so his wife's drawing-room has none. Dering, in a later story, reflects with satisfaction that his wife Louise has fulfilled his early ideal of a mate who can "clean a grate, to cook a dinner, and to discuss Ibsen." The phrasing reveals a husband who prizes versatility but frames it as a checklist of his own design. Lowndes does not label these men as villains; instead, she lets their casual assumptions speak. Dering is proud of his "good sense" and believes he and Louise have "triumphantly defied convention," yet he also notes that lately she has been "listless and tired, utterly unlike herself." The gap between his self-congratulation and her unspoken fatigue is a recurring structural device.

The Weight of Unspoken Things

Lowndes builds drama from what is not said. Althea Scrope knows that Dockett regards her as an interloper, but she does not confront him. She has never asked her husband why he calls the butler "Trip"—"she had not liked to ask; her husband often spoke a language strange to her." That single sentence encapsulates a marriage of asymmetrical knowledge. In the Dering story, the husband remembers that his mother was insane, but the thought is a brief shudder, quickly suppressed. The narrative does not explore its implications for his marriage or his own mind. These withheld reactions create a texture of restraint: the wives, and sometimes the husbands, feel more than they articulate, and the reader must read between the lines of polite conversation and interior monologue.

Settings as Psychological Mirrors

Lowndes uses place to reflect emotional states. Althea's window overlooks a frozen lake and snow-covered park—a "charming outlook" that nonetheless oppresses her. The quietude of the scene makes her feel cold despite having been warm from walking. Dering, after a tense interview with a lawyer, walks through a Thames-side garden and then into Westminster Abbey, where the "spirit of quietude" soothes him only momentarily before he feels indignation at the monuments around him. These settings are not mere backdrops; they are active elements that amplify or contrast with the characters' inner turmoil. The Abbey, meant to inspire reverence, instead provokes in Dering a "half voluntarily comic indignation," revealing his self-absorption even in a sacred space.

These stories reward attention to the spaces between dialogue and the weight of unremarked gestures. Lowndes rarely tells the reader what to think about a marriage; she presents the evidence and lets the contradictions accumulate. A wife's silence, a husband's complacency, a room without curtains—each detail contributes to a portrait of intimacy as a field of small, persistent tensions. Readers may find themselves rereading passages to catch the flicker of irony or the moment a character almost reveals something true.

There’s something about those quiet, restless wives in Lowndes’s portraits—caught between the lives they chose and the selves they set aside—that reminds me of reading Tales from the X-bar Horse Camp: The Blue-Roan "Outlaw" and Other Stories — Inside the Classic, where even the wildest spirit learns the ache of the corral. Both books hold that same flicker of longing, held privately, without anyone calling it by name.

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