Scenes and Characters, or, Eighteen Months at Beechcroft — A Closer Reading

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Yonge, Charlotte M. (Charlotte Mary), 1823-1901 Project Gutenberg 2004 Not confirmed
England -- Social life and customs -- 19th century -- Fiction; Domestic fiction Readers of public-domain and historical texts
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Edition facts

Words 90,490
Reading time 394 min
Text sections 8

Before opening Scenes and Characters, or, Eighteen Months at Beechcroft — A Closer Reading, the edition data offers a quick orientation: 90,490 words, 6 hr 34 min estimated reading time, and 8 detected text sections.

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Charlotte M. Yonge's early novel follows the Mohun family over eighteen months at Beechcroft, balancing domestic incident with moral scrutiny. The preface frames the work as a deliberate study of feeling versus duty, and the excerpt shows sibling tensions, social expectations, and the quiet weight of everyday choices.
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ng in those times than it has since become through the multiplicity of books to be hurried over, and it was often very useful, as when it taught that such arrangement of incident was the means of developing the leading idea.

Yet, with all its faults, the children, who had been real to me, caught, chiefly by the youthful sense of fun and enjoyment, the attention of other children; and the curious semi-belief one has in the phantoms of one’s brain made me dwell on their after life and share my discoveries with my friends, not, however, writing them down till after the lapse of all these years the tenderness inspired by associations of early days led to taking up once more the old characters in _The Two Sides of the Shield_; and the kind welcome this has met with has led to the resuscitation of the crude and inexperienced tale which never pretended to be more than a mere family chronicle.

6_th_ _October_ 1886.

PAGE CHAPTER I THE ELDER SISTER 1 CHAPTER II THE NEW COURT 6 CHAPTER III THE NEW PRINCIPLE 15 CHAPTER IV HONEST PHYL 26 CHAPTER V VILLAGE GOSSIP 35 CHAPTER VI THE NEW FRIEND 52 CHAPTER VII SIR MAURICE 61 CHAPTER VIII THE BROTHERS 78 CHAPTER IX THE WASP 101 CHAPTER X COUSIN ROTHERWOOD 109 CHAPTER XI DANCING 123 CHAPTER XII THE FEVER 131 CHAPTER XIII A CURIOSITY MAP 143 CHAPTER XIV CHRISTMAS 155 CHAPTER XV MINOR MISFORTUNES 167 CHAPTER XVI VANITY AND VEXATION 186 CHAPTER XVII LITTLE AGNES 198 CHAPTER XVIII DOUBLE, DOUBLE TOIL AND TROUBLE 208 CHAPTER XIX THE RECTOR’S ILLNESS 222 CHAPTER XX THE LITTLE NEPHEW 227 CHAPTER XXI CHARITY BEGINS AT HOME 235 CHAPTER XXII THE BARONIAL COURT 249 CHAPTER XXIII JOYS AND SORROWS 256 CHAPTER XXIV LOVE’S LABOUR LOST 264 CHAPTER XXV THE THIRTIETH OF JULY 277 CHAPTER XXVI THE CRISIS 297 CHAPTER XXVII CONCLUSION 313

CHAPTER I THE ELDER SISTER

‘Return, and in the daily round Of duty and of love, Thou best wilt find that patient faith That lifts the soul above.’

ELEANOR MOHUN was the eldest child of a gentleman of old family, and good property, who had married the sister of his friend and neighbour, the Marquis of Rotherwood. The first years of her life were marked by few events. She was a quiet, steady, useful girl, finding her chief pleasure in nursing and teaching her brothers and sisters, and her chief annoyance in her mamma’s attempts to make her a fine lady; but before she had reached her nineteenth year she had learnt to know real anxiety and sorrow. Her mother, after suffering much from grief at the loss of her two brothers, fell into so alarming a state of health, that her husband was obliged immediately to hurry her away to Italy, leaving the younger children under the care of a governess, and the elder boys at school, while Eleanor alone accompanied them.

Their absence lasted nearly three years, and during the last winter, an engagement commenced between Eleanor and Mr. Francis Hawkesworth, rather to the surprise of Lady Emily, who wondered that he had been able to discover the real worth veiled beneath a formal and retiring manner, and to admire features which, though regular, had a want of light and animation, which diminished their beauty even more than the thinness and compression of the lips, and the very pale gray of the eyes.

The family were about to return to England, where the marriage was to take place, when Lady Emily was attacked with a sudden illness, which her weakened frame was unable to resist, and in a very few days she died, leaving the little Adeline, about eight months old, to accompany her father and sister on their melancholy journey homewards. This loss made a great change in the views of Eleanor, who, as she considered the cares and annoyances which would fall on her father, when left to bear the whole burthen of the management of the children and household, felt it was her duty to give up her own prospects of happiness, and to remain at home. How could she leave the tender little ones to the care of servants—trust her sisters to a governess, and make her brothers’ home yet more dreary? She knew her father to be strong in sense and firm in judgment, but indolent, indulgent, and inattentive to details, and she could not bear to leave him to be harassed by the petty cares of a numerous family, especially when broken in spirits and weighed down with sorrow. She thought her duty was plain, and, accordingly, she wrote to Mr. Hawkesworth, to beg him to allow her to withdraw her promise.

Charlotte M. Yonge's preface to the 1889 edition of Scenes and Characters offers a rare glimpse into the author's own retrospective judgment. She calls the book an instance supporting her advice to young authors not to print before they are old enough to do justice to their freshest ideas. The novel, her second publication, was written when she was 'of age' but she now sees 'failures that more experience might have enabled me to avoid.' Yet she also notes that the characters became lifelong companions, born from an almost solitary childhood and visits to the 'Elysium of a large family.' The preface explicitly states the moral maxim that guided the work: feeling unguided becomes selfishness, while simple duty may lead to self-devotion.

A Walk Gone Wrong: Sibling Discipline and Social Scrutiny

The excerpt from the novel centers on a walk that goes awry. Lily and Reginald set out to take broth to the old Martins, find the meadows flooded, and return late. The scene is a study in family dynamics: William scolds Lily sharply, blaming her folly and Reginald's carelessness. Lily's 'make-the-best-of-it tone' contrasts with William's anger. The arrival of an aunt, Lady Rotherwood, raises the stakes. Jane meets them 'full of her own and Lady Rotherwood's wonderings.' The tension is not just about lateness but about reputation. William's apologies are 'not such as to smooth matters for his sister.' The episode shows how a small domestic failure becomes a test of character and social standing, with each sibling reacting differently.

The Weight of a Word: 'Consider of It'

After the walk, the family discusses a ball invitation. Lady Rotherwood proposes taking Emily and Lily to a ball at Raynham. William refuses to dance, saying 'I never dance' with 'grave emphasis.' Lord Rotherwood jests, but Claude makes a quiet prediction: 'I give small hopes of both; you will only have Emily.' When asked why, he answers 'From my own observation.' The exchange reveals a family where words carry precise meanings. Lord Rotherwood explains that Uncle Mohun's 'consider of it' is equivalent to 'Le Roi's avisera'—a polite refusal. Florence adds, 'people never consider when they mean no.' This moment crystallizes the novel's interest in the gap between what is said and what is meant, and how characters read each other's intentions.

The Author's Own Second Thoughts

Yonge's 1886 preface adds a layer of self-critique. She admits the book has 'failures' that more experience might have avoided, yet she reissued it because the same characters recur in another story, creating 'a certain desire to see their first start.' The preface also reveals the book's origin: a French master set her to write letters, which became conversation and narrative, and the family's adventures 'sweetened the toils of French composition.' The tale was first printed for private sale as a fundraiser for a village school. This background explains the novel's episodic, letter-like structure and its focus on domestic moral education. Yonge's later perspective does not dismiss the work but frames it as a sincere, if imperfect, beginning.

Readers approaching Scenes and Characters should attend to the small moments—a scolding, a prediction, a phrase—that carry the novel's moral weight. Yonge's preface warns against expecting plot or catastrophe; the interest lies in the 'chronicle of small beer' and the indirect instruction of daily life. The excerpt shows how a single evening's events ripple through family relations and social expectations. The novel rewards those who read for nuance rather than incident.

Reading about the Mohuns' quiet reckonings between feeling and duty, I found myself thinking of other stories where private choices brush against history's larger pull. Janice Meredith carries that same weight, though its canvas is broader—a young woman learning how small, ordinary decisions echo through revolution. It felt less like a new book than a familiar ache, one I've carried since Beechcroft. Janice Meredith: A Story of the American Revolution — Context and Discussion lingers beside it now, like a photograph found in an old drawer.

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