Sandra Belloni — Volume 4 — A Closer Reading
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The catalog record for Sandra Belloni — Volume 4 — A Closer Reading provides practical reading context through 29,972 words, 2 hr 11 min estimated reading time, and 3 detected text sections.
The text analysis averages about 14.3 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 “English fiction -- 19th century,” connecting these edition facts with the source record’s subject description.
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- Title & short description10 pts
- Source metadata20 pts
- Text length15 pts
- Chapters / structure15 pts
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Read the Text
Emilia was still kneeling before him, eyeing him with a shadowed steadfast air.
"I say his, because his heart is in mine. He has any pain that hurts me."
"He may be tremendously in love," observed Mr. Pole; "but he seems a deuced soft sort of a doctor! What's his name?"
The merchant appeared to be giving ear to her, long after the words had been uttered, while there was silence in the room.
"Wilfrid? my son?" he cried with a start.
"Damned rascal!" Mr. Pole jumped from his chair. "Going and playing with an unprotected girl. I can pardon a young man's folly, but this is infamous. My dear child," he turned to Emilia, "if you've got any notion about my son Wilfrid, you must root it up as quick as you can. If he's been behaving like a villain, leave him to me. I detest, I hate, I loathe, I would kick, a young man who deceives a girl. Even if he's my son!--more's the reason!"
Mr. Pole was walking up and down the room, fuming as he spoke. Emilia tried to hold his hand, as he was passing, but he said: "There, my child! I'm very sorry for you, and I'm damned angry with him. Let me go."
"Can you, can you be angry with him for loving me?"
"Deceiving you," returned Mr. Pole; "that's what it is. And I tell you, I'd rather fifty times the fellow had deceived me. Anything rather than that he should take advantage of a girl."
"Wilfrid loves me and would die for me," said Emilia.
"Now, let me tell you the fact," Mr. Pole came to a halt, fronting her. "My son Wilfrid Pole may be in love, as he says, here and there, but he is engaged to be married to a lady of title. I have his word--his oath. He got near a thousand pounds out of my pocket the other day on that understanding. I don't speak about the money, but--now--it's a lump-- others would have made a nice row about it--but is he a liar? Is he a seducing, idling, vagabond dog? Is he a contemptible scoundrel?"
"He is my lover," said Emilia.
She stood without changing a feature; as in a darkness, holding to the one thing she was sure of. Then, with a sudden track of light in her brain: "I know the mistake," she said. "Pardon him. He feared to offend you, because you are his father, and he thought I might not quite please you. For, he loves me. He has loved me from the first moment he saw me. He cannot be engaged to another. I could bring him from any woman's side. I have only to say to myself--he must come to me. For he loves me! It is not a thing to doubt."
Mr. Pole turned and recommenced his pacing with hasty steps. All the indications of a nervous tempest were on him. Interjecting half-formed phrases, and now and then staring at Emilia, as at an incomprehensible object, he worked at his hair till it lent him the look of one in horror at an apparition.
"The fellow's going to marry Lady Charlotte Chillingworth, I tell you. He has asked my permission. The infernal scamp! he knew it pleased me. He bled me of a thousand pounds only the other day. I tell you, he's going to marry Lady Charlotte Chillingworth."
Emilia received this statement with a most perplexing smile. She shook her head. "He cannot."
"Cannot? I say he shall, and must, and in a couple of months, too!"
The gravely sceptical smile on Emilia's face changed to a blank pallor.
"Then, you make him, sir--you?"
"He'll be a beggar, if he don't."
"You will keep him without money?"
Mr. Pole felt that he gazed on strange deeps in that girl's face. Her voice had the wire-like hum of a rising wind. There was no menace in her eyes: the lashes of them drooped almost tenderly, and the lips were but softly closed. The heaving of the bosom, though weighty, was regular: the hands hung straight down, and were open. She looked harmless; but his physical apprehensiveness was sharpened by his nervous condition, and he read power in her: the capacity to concentrate all animal and mental vigour into one feeling--this being the power of the soul.
So she stood, breathing quietly, steadily eyeing him.
"No, no;" went on Mr. Pole. "Come, come. We'll sit down, and see, and talk--see what can be done. You know I always meant kindly by you."
"Oh, yes!" Emilia musically murmured, and it cost her nothing to smile again.
The fourth volume of Sandra Belloni opens with a midnight scene that epitomizes Meredith's method: Emilia kneels before Mr. Pole, asking if he will break her heart—and his son's. The old merchant's response, 'Break a man's heart! I? What's the meaning of that?' captures the comic bewilderment that runs through the book. Meredith uses such moments to probe the gap between what characters say and what they intend, a technique that gives the novel its distinctive ironic texture.
The catalog lists this as 'English fiction—19th century,' but the excerpts reveal a work more interested in psychological comedy than adventure. The narrative voice frequently undercuts its characters, as when Wilfrid's thoughts of 'striking for liberty' lead him straight into a tighter trap. Readers should attend to the subtle shifts between dialogue and narrated reflection, where the real drama unfolds.
The Comic Mask and the Skull
Chapter XXVI is titled 'Suggests That the Comic Mask Has Some Kinship with a Skull,' and the scene that follows lives up to that hint. Mr. Pole, having appeased his imagination with a chop and a song, is a figure of comic pathos: an old merchant who wants his children 'happy, married and settled,' yet cannot follow Emilia's oblique plea about his son's heart. His repeated 'For God's sake, don't bother me!' reveals a mind that shies from emotional complexity.
Meredith's narration here is spare, letting dialogue carry the weight. Emilia's line 'his heart is in mine' is a rare direct statement in a book full of indirection. The chapter title warns us that comedy and mortality are linked—the mask grins, but the skull beneath is real. This is not a lighthearted farce but a comedy of discomfort, where laughter comes with a sting.
Besworth Lawn: The Game of Implications
The scenes at Besworth Lawn showcase Meredith's mastery of social maneuvering. Lady Charlotte, observing the company, remarks on the 'silver heads and sunset' with a cynicism that Wilfrid misreads. His attempt to retract a hoped-for proposal—'I fear that I have been calculating rather more hopefully'—backfires when she replies, 'We may do very well without it.' The narrator notes that 'the pitfall of sentiment yawned before him on a sudden,' a phrase that neatly sums up the novel's view of romantic language as a trap.
Adela, meanwhile, handles her own entanglement with Edward Buxley by dismissing him with 'We saw from the beginning it could not be, Edward.' The contrast between Wilfrid's fumbling and Adela's coolness highlights a gendered difference in social competence. Meredith's dialogue is full of such parallels, inviting readers to compare how each character navigates the same treacherous waters.
The Double-Man and the Great Fight
Chapter XXX is titled 'Of the Double-Man in Us, and the Great Fight When These Are Full-Grown,' a phrase that points to Meredith's interest in internal conflict. Wilfrid's predicament—wanting freedom yet unable to speak plainly—embodies this divided self. He thinks, 'if at the first I had only told the woman I do not love her!' but recognizes that 'the sentimental lead had ruined him.' The novel suggests that characters are not simply hypocritical but genuinely torn between impulses.
This theme recurs in smaller ways: Mr. Pole's oscillation between paternal affection and evasion, Emilia's blend of vulnerability and resolve. The excerpts do not show the 'great fight' itself, but the title promises a climax where these inner divisions become overt. Meredith's chapter headings are a guide to his thematic concerns, and readers should note how each one frames the action that follows.
This volume rewards attention to its chapter titles, which function as ironic commentaries on the events. The narrative voice is a character in its own right, often more knowing than any of the dramatis personae. Readers coming from earlier volumes will find the same blend of comedy and psychological acuity, while newcomers may need to catch up on the tangled relationships. The excerpts suggest a novel that earns its place in 19th-century fiction through precise social observation and a willingness to let its characters reveal themselves in their own words.
I kept thinking about that awkward moment with Mr. Pole, how love and money tangle so quietly in Meredith’s hands. Lysbeth, a Tale of the Dutch — Story, Setting & Ideas stayed with me the same way—not dramatic, just deeply human, the weight of loyalty pressing softly through the pages. Some books linger like a friend’s half‑finished sentence.
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