The Last Call: A Romance (Vol. 2 of 3) — Story, Setting & Ideas

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Dowling, Richard, 1846-1898 Project Gutenberg 2013 Not confirmed
Man-woman relationships -- Fiction; Mistaken identity -- Fiction Readers of public-domain and historical texts
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Words 38,596
Reading time 168 min
Text sections 5

The source record for The Last Call: A Romance (Vol. 2 of 3) — Story, Setting & Ideas measures this digital text at 38,596 words, 2 hr 48 min estimated reading time, and 5 detected text sections.

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Project Gutenberg metadata also associates the work with “Man-woman relationships -- Fiction,” connecting these edition facts with the source record’s subject description.

This editorial note examines how the opening, middle, and later excerpts of Volume 2 guide a first reading, focusing on Dora's discovery of gold, Lavirotte's moral conflict, and O'Donnell's desperate energy.
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When Dora Harrington released herself from old Crawford's arms, he led her to a chair, and said: "I have no longer the shadow of a doubt that you are the daughter of my Dora. It was, indeed, a lucky chance which made me in my despair last night turn my steps towards the river. And now," he added, "the next thing is to get some nice comfortable place for you. This old rookery would never suit. Let us go and try if we cannot find a suitable, homely place, somewhere outside the City."

"I told you, sir," said the girl timidly, "that when yesterday I found out all my money was lost in the bank, I had not a shilling to send a message to him."

The old man took out a leather bag and handed it to her, saying: "This will be enough for the present. When it is all gone let me know."

"But, sir," said the girl, holding the bag in her hand without opening it, "I do not want all this. A shilling will be sufficient for the present, if you will only let me go to the nearest telegraph office."

"Nonsense, child," he said. "You cannot be without money in London. There is more where that came from. If you wish to go immediately to the telegraph office, you may as well start now. I will meet you in an hour at Ludgate Circus."

The young girl descended the ladders through the gloom of the tower, and opening the deep sunken door, emerged into the broad morning sunlight. She went to the telegraph office and wrote out the following message:

"Cannot say how sorry you are not well. Could not telegraph yesterday. Would go over, but have no money."

When she had written out this message, she untied the string of the bag and poured the contents into her hand. She had expected to find a few shillings. She started with surprise.

"Gold! All gold!" She counted. "Twelve pounds!" Then for a moment she stood in thought, tore up the telegram she had written, and walked quickly back to the tower.

Here a difficulty presented itself. How was she to summon the old man from the top or from the pit? If he was above, the feeble sound of her hand beating against that door would never be heard, even at night. But now in the day, owing to the roar of traffic around, she could not make herself heard if he was in the pit beneath.

What was she to do? This was the only door. Under the circumstances she did not care to ask the aid of any passer-by, lest it might anger the old man. Notwithstanding her conviction that the effort would be fruitless, she did knock at the massive door with her hand.

There came no response. For a quarter of an hour she stood and knocked unavailingly. Then she turned to go, and hastened to Ludgate Circus. She had taken no heed of time, and when she got to the Circus she was horrified to find herself twenty minutes behind the time appointed.

She glanced hastily round, but could not see the old man. Then she carefully examined with her eye each of the four sections that make up the Circus. She found no one she knew. The hurrying crowd and throng of vehicles 'confused her senses and her mind. The old man had not indicated to her the section in which he would meet her, and to her eyes, unaccustomed as they were to the ceaseless turmoil of traffic in the City, it seemed almost impossible to find anyone in that place.

She waited half-an-hour vainly. Then she began to despair. Whither should she turn? That tower in Porter Street now seemed as inaccessible to her as the centre of the Great Pyramid. This dereliction of to-day was harder to bear than that of yesterday; for since her desperate resolve the previous night she had found a friend--nay, more, a close relative--who was also the friend of the man she loved, and who was willing and able to help her. Had she not with her the proof of this willingness and this ability?

Then, as she betook herself once more in the direction of St. Prisca's Tower, she remembered he had said the money he gave her that morning would do for the present. She was therefore, of course, at liberty to employ the money as she chose. It was hers to use, for a grandfather had of course a perfect right to give his grand-daughter money, and the granddaughter had a perfect right to accept it.

The second volume of Richard Dowling's The Last Call opens with Dora Harrington in a tower, having just been identified as the daughter of old Crawford. The excerpts reveal a narrative that moves between intimate revelations and broader financial intrigue. Dora's discovery that the leather bag contains twelve pounds in gold—not the few shillings she expected—marks a turning point in her agency. She tears up her telegram to Lavirotte and returns to the tower, a setting that emphasizes isolation amid London's roar. This moment, early in the volume, establishes a pattern of characters making decisions based on incomplete information, a thread that continues through Lavirotte's internal struggle and O'Donnell's desperate measures.

The Tower as a Stage for Revelation

The tower in which Dora and Crawford meet is more than a setting; it is a physical manifestation of the characters' separation from the world. Dora descends "through the gloom of the tower" into "the broad morning sunlight," a transition that mirrors her shift from despair to cautious hope. The difficulty of communication within the tower—her hand beating against the door unheard—underscores the theme of missed connections. Later, Lavirotte and Crawford converse in the same space, with Lavirotte confessing his conflict between "the tyranny of glory" and his "better self." The tower thus becomes a place where characters voice truths they cannot speak elsewhere, making it a focal point for the volume's emotional core.

Money as a Measure of Character

Throughout the excerpts, money functions as a litmus test for integrity. Dora's initial need for a single shilling to send a telegram contrasts sharply with the twelve pounds she receives, a sum that prompts her to reconsider her actions. Lavirotte's declaration that he is "willing to throw down thousands for him who never did me personally a service" reveals a shift from earlier financial desperation to a moral stance. Meanwhile, James O'Donnell's struggle to pay calls on shares—drawing in money "to the serious injury of his business"—shows a man staking his entire enterprise on a promise. The narrative uses these financial transactions to expose the characters' values, with each payment or refusal carrying emotional weight.

The Rhythm of Desperation and Renewal

The pacing of the excerpts alternates between moments of crisis and brief respites. Dora's discovery of gold is followed by her return to the tower, a pause before action. Lavirotte's soliloquy on glory and weakness gives way to his resolve to visit the attorney. O'Donnell's "new-born strength" after paying the second call injects a note of hope, yet the narrative undercuts it with the knowledge that he has called in "his last farthing." This rhythm—desperation, decision, temporary relief—creates a forward momentum that keeps the reader attuned to the characters' fluctuating fortunes. The third call looms as an unresolved threat, a structural device that ties the volume's middle to its anticipated climax.

Voice and Interiority in Dialogue

Dowling's dialogue often carries the weight of interior conflict. Lavirotte's speech to Crawford—"Any weakness is better than the tyranny of glory"—is a self-revelation that blends introspection with performance. The old man's silence in response amplifies the moment. Similarly, Dora's internal calculation after counting the gold—"Twelve pounds!"—is rendered through action rather than narration, allowing the reader to infer her thoughts. These techniques give the characters a psychological depth that compensates for the limited exposition. The excerpts suggest that the novel's romance is as much about self-discovery as about relationships, with each conversation peeling back another layer of motive.

Readers approaching Volume 2 should attend to the interplay between public and private spaces—the tower, the telegraph office, the business place—as each setting constrains or enables revelation. The excerpts offer no resolution to the financial crisis or the romantic entanglements, leaving the third volume to resolve the calls and the fates of Dora, Lavirotte, and O'Donnell. The narrative rewards close attention to small details, such as the tearing of a telegram or the counting of gold, which signal shifts in character that larger events will later confirm.

Reading about Dora’s gold discovery, I remembered my grandfather’s quiet thrill over a worn-out copy of The Wilderness Castaways. The way hope creeps in sideways, disguised as luck. There’s a hush in that book too, a pause before everything changes. It felt like recognizing a voice I’d almost forgotten. The Wilderness Castaways — A Reader’s Guide hums with that same patient ache. Strange how certain stories settle in you like old friends.

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