Abbeychurch; Or, Self-Control and Self-Conceit — Story, Setting & Ideas

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Yonge, Charlotte M. (Charlotte Mary), 1823-1901 Project Gutenberg 2003 Not confirmed
English fiction -- 19th century; Religious fiction Readers of public-domain and historical texts
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Edition facts

Words 79,534
Reading time 346 min
Text sections 9

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Charlotte M. Yonge's early novel contrasts self-control and self-conceit through the Woodbourne sisters, with a preface acknowledging its dated views on 'march of intellect' and a parody of sensation fiction.
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One summer afternoon, Helen Woodbourne returned from her daily walk with her sisters, and immediately repaired to the school-room, in order to put the finishing touches to a drawing, with which she had been engaged during the greater part of the morning. She had not been long established there, before her sister Katherine came in, and, taking her favourite station, leaning against the window shutter so as to command a good view of the street, she began, 'Helen, do you know that the Consecration is to be on Thursday the twenty-eighth, instead of the Tuesday after?'

'I know Lizzie wished that it could be so,' said Helen, 'because the twenty-eighth is St. Augustine's day; but I thought that the Bishop had appointed Tuesday.'

'But Papa wrote to him, and he has altered the day as Papa wished; I heard Mamma and Mr. Somerville talking about it just now when I went into the drawing-room,' answered Katherine.

'Will everything be ready in time?' said Helen.

'Dear me!' cried Katherine, 'I wonder if it will. What is to be done if that tiresome Miss Dighten does not send home our dresses in time? We must go and hurry her to-morrow. And I must get Mamma to go to Baysmouth this week to get our ribbons. I looked over all Mr. Green's on Monday, and he has not one bit of pink satin ribbon wide enough, or fit to be seen.'

'Oh! but I meant the things in the church--the cushions and the carving on the Font,' said Helen.

'Oh dear! yes, the Font is very nearly done, we saw to-day, you know; and as to the cushions, Mrs. Webbe may have Sarah to help her, and then they will certainly be finished. I wonder whether there will be any fun!' said Katherine.

'Is a Consecration an occasion for fun?' asked Helen very gravely.

'Why, no, I do not exactly mean that,' replied Katherine, 'but there will be a great many people, and the Mertons staying here, and Rupert is always so full of fun.'

'Hm--m,' said Helen, 'I do not suppose he will be come back from Scotland.'

'And Mrs. Turner says,' continued Katherine, 'that of course as the Bishop is coming to luncheon after Church, Mamma must give an elegant dejeuner a la fourchette to everybody. Next time I go to St. Martin's Street, Mrs. Turner is going to give me a receipt for making blanc-manger with some cheap stuff which looks quite as well as isinglass. It is made on chemical principles, she says, for she heard it all explained at the Mechanics' Institute. And Aunt Anne will be sure to bring us some of their grand fruit from Merton Hall. What a set-out it will be! The old Vicarage will not know itself; how delightful it will be!'

'So you think the happiness of the Consecration day depends upon the party and the luncheon,' said Helen.

'No, no, of course I do not,' said Katherine; 'but we must think about that too, or we should not do what is proper.'

'Someone must,' said Helen, 'but it is happy for us that we are not called upon to do so yet.'

'Why, we must help Mamma,' said Katherine; 'I am sure that is our duty.'

'Certainly,' said Helen; 'but we need not dwell upon such thoughts for our own pleasure.'

'No, I do not, I am sure,' said Katherine; 'I do not care about the grand dejeuner, I am sure I think a great deal more about the Church and the Bishop--I wonder whether he will come by the railroad.'

At this moment, the door was thrown back hastily, and Elizabeth, the elder sister of Katherine and Helen, darted in, looking full of indignation, which she only wanted to pour forth, without much caring whether it was listened to with sympathy or not.

'So have you heard,' she began, 'these Hazlebys are coming. Did you ever hear of such a nuisance? Anything so preposterous? Mrs. Hazleby at a Consecration--I should as soon think of asking Gillespie Grumach.'

'It is for the Major's sake, of course,' said Helen; 'he will like to come.'

The preface to Abbeychurch; Or, Self-Control and Self-Conceit, written twenty years after the first edition, offers an unusually candid authorial commentary. Charlotte M. Yonge admits that her early work 'points rather to a transient phase of difficulty than to a general principle' and expresses regret over its 'tyrannical aversion to vulgarity' and excessive historical allusions. She also notes that the later portion of the volume was intended as a parody of the sensation novel, though it 'makes the mistake of having too real a mystery.' This self-critical framing invites readers to approach the text as both a moral tale and a document of its era.

Narrative Voice and the Preface's Retrospective Lens

The preface, dated May 9, 1872, establishes a layered reading experience. Yonge describes the original story as 'my first crude attempt' and confesses that the clergyman's opposition to the 'march of intellect' would have been better handled as direction rather than obstruction. This admission colors the ensuing narrative, where characters like Mr. Mills deliver lectures on 'barbarous institution' and 'civilized and enlightened age.' The author's later perspective highlights the gap between the story's earnest didacticism and her own evolved views. Readers may note how the preface's tone—apologetic yet fond—contrasts with the confident moralizing of the main text.

Pace and the Mechanics' Institute Episode

The extended scene at the Mechanics' Institute exemplifies the novel's variable pace. Elizabeth's internal panic—'she fancied she saw a figure like Rupert's'—slows time, while the narrator's dry enumeration of Mr. Mills's repeated phrases ('fifteen times' and 'at least twenty-three times') injects comic acceleration. The description of the room—'a strong scent of tobacco,' 'a flaring gas-light,' 'crowded benches'—builds a stifling atmosphere that mirrors Elizabeth's embarrassment. Yonge shifts between Elizabeth's heightened senses and Anne's detached amusement, creating a layered perspective that modulates the reading tempo.

Voice and Self-Conceit in Dialogue and Description

Yonge distinguishes characters through their speech patterns and narrative commentary. Elizabeth's evasive replies—'echo[ing] the last word of each sentence' or resorting to 'Oh!'—reveal her discomfort and self-consciousness. In contrast, Katherine's 'nodding and smiling to everyone' and Anne's internal mockery of the lecture show varying degrees of self-awareness. The narrator's own voice intrudes with wry observations, such as describing Elizabeth's hope that 'her bonnet would screen her heightened colour.' These details align with the novel's subtitle: self-control is tested in social settings, while self-conceit emerges in characters like Mr. Mills, who 'wished to shew his aunt how well he and his companion agreed.'

Yonge's preface warns that the tale's defects—its dated allusions and harsh judgments—are 'too inherent' to remove. Rather than smoothing these over, readers may find interest in how the novel's unevenness reflects its author's growth. The later parody of sensation fiction, though imperfect, adds a second layer that rewards attention to shifts in tone. Approach the two stories as companion pieces that together reveal Yonge's early experiments with voice and moral design.

Reading about the Woodbourne sisters made me think of afternoons at my grandmother’s, where we’d argue about patience and pride until tea went cold. The Long Vacation stirred that same ache—a quieter reckoning with who we were becoming. The Long Vacation — Context and Discussion felt like finding an old letter, familiar yet startling, and I sat with it longer than I meant to.

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