The courting of Lady Jane — Inside the Classic
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For The courting of Lady Jane — Inside the Classic, the stored edition analysis reports 8,402 words, 37 min estimated reading time, and 1 detected text section.
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Project Gutenberg metadata also associates the work with “Middle-aged persons -- Fiction,” connecting these edition facts with the source record’s subject description.
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Read the Text
y into the navy for, anyway? Nagasaki! I wouldn't live in a place called Nagasaki for all that money could buy!”
“You're cross,” said Mrs. Dick placidly. “Please get off that bath-wrapper. If you don't like to live alone--Six bath-towels, Dick's shoe-bag, my old muff (I hope and pray I'll remember that!) Helen's reefer--Why don't you marry?”
“Marry? Marry! Are you out of your mind, Dosia? I marry!”
The colonel twisted his grayish mustache into points; a look of horror spread over his countenance.
“Men have done it,” she replied seriously, “and lived. Look at Dick.”
“Look at him? But how? Who ever sees him? I've ceased to believe in him, personally. I can't look across the Pacific. Consider my age, Dosia; consider my pepper-and-salt hair; consider my bronchitis; consider--”
“Consider your stupidity! As to your hair, I should hate to eat a salad dressed with that proportion of pepper. As to your age, remember you're only ten years ahead of me, and I expect to remain thirty-eight for some time.”
“But forty-eight is centenarian to a girl of twenty-two, Dosia.”
The colonel was plaiting and un-plaiting the ball-fringe of the bed-slip; his eyes followed the motion of his fingers--he did not see his sister's triumphant smile as she dived again into the trunk.
“That depends entirely on the girl. Take Louise Morris, for instance; she regards you as partly entombed, probably”--the colonel winced involuntarily--“but, on the other hand, a girl like Jane Leroy would have no such nonsense in her head, and she can't be much more than twenty.”
“She is twenty-two,” cried the unsuspecting colonel eagerly.
“Ah? I should not have said so much. Now such a girl as that, Cal, handsome, dignified, college-bred, is just the wife for an older man. One can't seem to see her marrying some young snip of her own age. She'd be wasted on him. I happen to know that she refused Wilbur Vail entirely on that ground. She admitted that he was a charming fellow, but she told her mother he was far too young for her. And he was twenty-eight.”
“Did she?” The colonel left the fringe. “But--but perhaps there were other reasons; perhaps she didn't--”
“Oh, probably she didn't. But still, she said he was too young. That's the way with these serious girls. Now I thought Dick was middle-aged when I married him, and he was thirty. Jane doesn't take after her mother; she was only nineteen when she was born--I mean, of course, when Jane was born. Will you hand me that crocheted shawl, please?”
“My dear girl, you're not going to try to get that into that trunk, too? Something will break.”
“Not at all, my dear Clarence. Thank you. Will you send Norah up to me as you go down?”
It had not occurred to the colonel that he was going down, but he decided that he must have been, and departed, forgetting Norah utterly before he had accomplished half of the staircase.
He wandered out through the broad hall, reaching down a hat absently, and across the piazza. Then, half unconscious of direction, he crossed the neat suburban road and strolled up the gravel path of the cottage opposite. Mrs. Leroy was sitting in the bay-window, attaching indefinite yards of white lace to indefinite yards of white ruffles. Jane, in cool violet lawn, was reading aloud to her. Both looked up at his light knock at the side door.
“But I am afraid I interrupt,” he suggested politely, as he dropped into a low chair with a manner that betokened the assurance of a warm welcome.
“Not the least in the world,” Mrs. Leroy smiled whimsically.
“Lady is reading Pater to me for the good of my soul, and I am listening politely for the good of her manners,” she answered. “But it is a little wearing for us both, for she knows I don't understand it, and I know she thinks me a little dishonest for pretending to.”
The girl's gray eyes opened wide above her cool, creamy cheeks; the deep dimples that made her mother's face so girlish actually added a regularity and seriousness to the daughter's soft chin. Her chestnut hair was thick and straight, the little half-curls of the same rich tint that fell over her mother's forehead brushed wavelessly back on each side of a deep widow's peak.
The two older ones laughed.
“Always uncompromising, Lady Jane!” the colonel cried.
“I assure you, colonel, when Lady begins to mark iniquities, few of us stand!”
Jane smiled gravely, as on two children. “You know very well that is nonsense,” she said.
Black Hannah appeared in the door, beaming and curtsying to the colonel.
“You-all ready foh yoh tea, Miss Lady?” she inquired.
The story opens with a brisk, comic exchange between Colonel Cal and his sister Dosia, who is packing for a move to Nagasaki. Their banter establishes the colonel's reluctance to marry, his self-consciousness about age, and Dosia's pragmatic matchmaking. The dialogue is sharp and natural, revealing character through rhythm and interruption rather than exposition.
As the narrative progresses, the tone shifts markedly. The colonel's courtship of the younger Jane Leroy is conducted through stilted, formal letters, but a later scene in a moonlit garden—where he mistakes the mother for the daughter—introduces a sudden, passionate intensity. The prose becomes more sensory, with music, moonlight, and physical detail driving the revelation.
Dialogue as Character Revelation
The opening pages rely almost entirely on dialogue to establish the colonel's personality and predicament. Dosia's packing-list interruptions—"Six bath-towels, Dick's shoe-bag, my old muff"—create a realistic, hurried rhythm that contrasts with the colonel's plaintive complaints. His objections to marriage are couched in self-deprecating physical details: "pepper-and-salt hair," "bronchitis." Dosia's retorts are pointed and witty: "I should hate to eat a salad dressed with that proportion of pepper." This verbal sparring efficiently sketches their relationship and the central conflict without authorial commentary.
Later, the colonel's letters to Jane adopt a more formal, almost legalistic tone—"I cannot pretend to the wild love of the poets"—which underscores his emotional restraint. The contrast between his spoken and written voices hints at a man more comfortable with banter than with vulnerability.
The Pivot: From Comedy to Romance
A marked shift in pace and style occurs when the colonel returns from New York. The earlier domestic comedy gives way to a compressed, almost cinematic sequence: he runs up the cottage steps, changes clothes hastily, walks to the dance. The prose becomes more visual and rhythmic: "Lights and music poured out of the open windows; the full moon made the grounds about it almost as bright as the rooms."
The garden scene is the emotional fulcrum. The colonel's perception of Lady Jane—"flushed with dancing; her hair had escaped from its usual calm"—contrasts with his earlier image of her. The moment he places the shawl on Mrs. Leroy's shoulders, the language intensifies: "a great light burst upon him." The kiss is described with physical immediacy—"crushing her in his arms, he kissed her heavily on her yielding mouth"—and the dialogue becomes exclamatory: "It is you! it is you!"
Narrative Economy and Unresolved Tension
Despite its brevity—under 9,000 words—the novella packs multiple tonal shifts and a dramatic reversal. The colonel's mistaken identity is prepared by earlier hints: Dosia's offhand remark about Jane's mother, the colonel's own confusion. Yet the resolution is abrupt. After the garden revelation, the excerpt cuts to the colonel's business in New York, where he feels "years younger." The final lines return to domestic detail—Hannah at the door, the dance invitation—but the emotional stakes have been raised.
The incomplete text leaves key questions unanswered: How does Jane react to the broken engagement? Does the colonel pursue Mrs. Leroy openly? The narrative's compression creates a sense of urgency, but also of ellipsis. Readers must infer the outcome from the trajectory of the colonel's awakening.
This edition preserves the original 1903 text, including its period-specific dialogue and social conventions. Readers may note how the author uses physical objects—a bath-wrapper, a lace shawl, a chafing-dish—to anchor emotional scenes. The story's brevity rewards attention to small details, such as the colonel's habit of plaiting fringe when nervous, or the repeated motif of names ("Lady Jane" versus "Alice"). These clues enrich the reading of a compact, deftly constructed romance.
Re-reading The Courting of Lady Jane—Inside the Classic, I paused at that garden scene, where the colonel’s certainty softens into something far more unsettled. It reminded me of the quiet bewilderment in How Doth the Simple Spelling Bee — A Closer Reading, where language itself resists tidy completion. Both books linger on the moment intention blurts into accident, leaving me with a fond, unfinished ache.
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