A Philanthropist — Key Ideas to Explore

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Bacon, Josephine Daskam, 1876-1961 Project Gutenberg 2007 Not confirmed
Middle-aged persons -- Fiction; Love stories, American Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 10,728
Reading time 47 min
Text sections 2

The catalog record for A Philanthropist — Key Ideas to Explore provides practical reading context through 10,728 words, 47 min estimated reading time, and 2 detected text sections.

The text analysis averages about 19.6 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 “Middle-aged persons -- Fiction,” connecting these edition facts with the source record’s subject description.

A short story about a middle-aged philanthropist, Miss Gould, and her lazy lodger, Mr. Welles, whose banter and schemes reveal contrasting attitudes toward reform and aesthetics in a small village.
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Editorial Edition Score 4.4/5

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  • Title & short description10 pts
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  • Text length15 pts
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uaked before her. And yet here in her own household, across her hall, lived the epitome of uselessness, indolence, selfishness, and--she was forced to admit it--charm. What corresponded to a sense of humor in her caught at the discrepancy and worried over it.

What! was she not competent, then, to influence her equals? For in everything but moral stamina she was forced to admit that her lodger was her equal, if no more. Widely travelled, well read, well born, talented, handsome, deferential--but persistently amused at her, irrevocably indolent, hopelessly selfish.

With the firm intention of turning the occasions to his benefit, she had finally accepted his regular and courteous invitation to take tea with him, and had watched his graceful management of samovar and tea-cup with open disfavor. “A habit picked up in England,” he had assured her, when, with the frankness characteristic of her, she had criticised him for the effeminacy. And his smiling explanation had sent a sudden flush across her smooth, firm cheeks. Was she provincial? Did she seem to him a New England villager and nothing more? She bit her lip, and the appeal she had planned went unspoken that day.

But her desire could not rest, and as to her strict notions the continual visits from her side to his seemed unsuitable, she gave in self-defence her own invitation, and Wednesday and Saturday afternoons saw her lodger across the hall drinking her own tea with wine and plum-cake by the shining kettle.

If she could command his admiration in no other way, she felt, she might safely rely on his deferential respect for the owner of that pewter tea-service--velvety, shimmering, glistening dully, with shapes that vaguely recalled Greek lamps and Etruscan urns. And she piled wedges of ambrosial plum-cake with yellow frosting on sprigged china, and set out wine in her great-grandfather's long-necked decanter, and, with what she considered a gracious tact, overlooked the flippancy of her guest's desultory conversation, and sincerely tried to discover the humorous quality in her conversation that forced a subdued chuckle now and then from her listener.

She confided most of her schemes to him, sometimes unconsciously, and grew to depend more than she knew upon his common sense and experience; for, though openly cynical of her works, he would give her what she often realized to be the best of practical advice, and his amusing generalities, though to her mind insults to humanity, had been so bitterly proved true that she looked fearfully to see his lightest adverse prophecy fulfilled.

After a cautious introduction of the subject by asking his advice as to the minimum of hours in the week one could conscientiously allow a doubtful member of the Weekly Culture Club to spend upon Browning, she endeavored to get his idea of that poet. Her famous theory as to her ability to place any one satisfactorily in the scale of culture according to his degree of appreciation of “Rabbi ben Ezra” was unfortunately known to her lodger before she could with any verisimilitude produce the book, and he was wary of committing himself. The exquisite effrontery with which she finally brought out her gray-green volume was only equalled by the forbearing courtesy with which he welcomed both it and her. Nor did he offer any other comment on her opening the book at a well-worn page than an apologetic removal to the only chair in the room more comfortable than the one he was at the time occupying. He listened in silence to her intelligent if somewhat sonorous rendering of selected portions of “Saul,” thanking her politely at the close, and only stipulating that he should be allowed to return the favor by a reading from one of his own favorite poets. With a shocked remembrance of certain yellow-covered volumes she had often cleared away from the piazza, Miss Gould inquired if the poet in question were English. On his hearty affirmative she resigned herself with no little interest to the opportunity of seeing her way more clearly into this baffling mind, horrified at his criticism of the second reading--for she had brought the “Rabbi” forward at last,

“Then welcome each rebuff That turns earth's smoothness rough, Each sting that bids nor sit nor stand, but go!”

The story opens with Miss Gould recounting a failed reform effort to her lodger, Mr. Welles, who responds with amused detachment. Their exchange immediately establishes a dynamic of earnest philanthropy versus ironic observation. The narrative moves between Miss Gould's determined plans and Mr. Welles's languid, aesthetic interventions, often through dialogue that reveals character through tone and gesture rather than direct statement.

Recurring images of movement—from the lodger's lazy grace to the bustling activity of villagers—underscore a tension between action and contemplation. The setting shifts between domestic interiors and the newly established Rooms, where objects like blue china and broken statuary become focal points of Mr. Welles's decorative whimsy.

Banter as a Structural Engine

The story’s structure relies heavily on extended conversations between Miss Gould and Mr. Welles, where their opposing worldviews clash through wit and understatement. Miss Gould’s indignation at the reformed drunkards’ relapse is met with the lodger’s barely suppressed mirth, described as a smile that “lost its way” into a convulsion. This pattern repeats: her earnest proposals are deflected by his lazy charm, yet he ultimately complies. The dialogue is punctuated by physical details—a splinter on a white flannel coat, the act of reclining in an Indian chair—that ground the verbal sparring in tangible, often comic, moments.

The Philanthropist’s Voice and Vision

Miss Gould’s speech is marked by a blend of moral certainty and practical detail. She speaks of “the Reformed Drunkards’ League” and “the Band of Hope” with the same matter-of-fact tone she uses for instructing Henry to pile wood. Her plans are precise: “Mondays, Tuesdays, Thursdays, and Fridays from ten to twelve, say!” The repetition of “say” suggests a habitual softening of her commands, yet her lodger perceives her as “like Greek architecture or Eastlake furniture … perfectly absolute.” Her voice carries the weight of experience, but also a girlish earnestness that surprises Mr. Welles.

The Lodger’s Aesthetic Counterpoint

Mr. Welles embodies a contrasting principle: the transformation of space through beauty and leisure. His renovation of the Rooms is described through the villagers’ incredulous reports: waxed floors, blue china, broken statuary, a guitar, and pictures covering every wall. He “squints about here and there, changing this and that, singing away and laughing.” His hired man, Thompson, speaks only “Yes, sir,” as if to the Queen of Sheba. This section highlights how the lodger’s methods—curating, arranging, making tea—stand in comic opposition to Miss Gould’s organized philanthropy, yet both aim to improve the community.

Village Commentary as Chorus

The villagers, represented by Henry and Mr. Waters, provide a running commentary on the events, their dialect and incredulity offering a third perspective. Their reports are filled with vivid, colloquial details: “I never see nothing like it—never!” They marvel at the “ol’ black secr’tary” and “brakes growin’ in colored pots.” This chorus not only advances the plot but also grounds the story in a specific social milieu, where the clash between reform and aesthetics is observed with a mixture of wonder and skepticism. The narrative thus moves between intimate dialogue and communal gossip, creating a layered portrait of small-town life.

Readers attentive to the interplay of voice and gesture will find the story’s humor and pathos in its details: a splinter on a coat, a glass of ’49 port, the precise schedule of a volunteer. The work rewards those who listen for the subtext in banter and who notice how objects—a broken statue, a wicker chair—carry the weight of character. Approach it as a study in contrasts, where philanthropy and aesthetics, earnestness and irony, coexist in a delicate, often comic, balance.

Miss Gould’s quiet stubbornness, the way her charity wove through village life like a gentle tide, stayed with me long after I closed the book. It reminded me, oddly, of another story I once half-read, where certainty becomes its own quiet ruin. That same tender ache lingers in Julia The Apostate — Reading Companion, a mirrored glimpse of belief and its slow undoing. Both felt like letters from someone else’s afternoon.

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