Two Sides of the Face: Midwinter Tales — Themes and Context

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Quiller-Couch, Arthur, 1863-1944 Project Gutenberg 2007 Not confirmed
Fiction; Short stories, English Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 69,464
Reading time 303 min
Text sections 7

For Two Sides of the Face: Midwinter Tales — Themes and Context, the stored edition analysis reports 69,464 words, 5 hr 3 min estimated reading time, and 7 detected text sections.

The text analysis averages about 17.4 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 “Fiction,” connecting these edition facts with the source record’s subject description.

Quiller-Couch's 1903 collection of seven midwinter tales, blending historical settings with supernatural and ironic twists. The opening story, 'Stephen of Steens,' uses a decaying Cornish mansion and its bullet-marked walls to introduce a narrative of wild justice. Another tale, 'The Hotwells Duel,' unfolds through a doctor's dry account of a Scottish eccentric and a duel at Bath.
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Roger had never set eyes on her before. But she had long ago made it her business to see him; had, in fact, put on bonnet and shawl one day and visited Helleston on pretence of shopping, and had, across the width of Coinagehall Street, been struck with terrified admiration of his stern face and great stature, recognising at a glance that here was a stronger man and better worth respecting than old Humphrey--a very dangerous man indeed for an enemy.

Roger in return considered her merely as a hussy--a designing baggage who had sold herself to an old fool. He came with a mind quite clear about this, and was not the sort of man to dismiss a prejudice easily. But her greeting, though it did not disarm him, forced him to defer hostilities for the moment, and in his room he allowed to himself that the woman had shown sense. He could not well send her packing while the old man lay above ground, and to begin quarrelling, with his corpse in the house, would be indecent. Go the woman should, but during her three days' grace stepson and stepmother had best keep up appearances.

He did not demur, when descending to supper, he found his father's chair removed from its place at the head of the table and his own set at the side on the widow's right. She met him with a smile, too, of which he had to approve; it seemed to say, "I do not forget that we are, and must be, antagonists; but in trifles, and for the short while permitted to us, let us do each other justice." She discussed, in low tones but frankly, the old man's illness--told him what there was to tell, pausing now and then with a silent invitation to question her were he minded, and apologised very prettily for her shortcomings as a hostess.

"But you will, of course, order just what you want. Luckily the servants know you and your ways, and you will forgive anything I have overlooked. In the circumstances--"

She broke off, and Roger found himself grunting that "she wasn't to trouble about that: he'd do well enough." He did not actually thank her for her preparations to make him comfortable, but discovered with a kind of indignant surprise that he had come very near to it. Somehow this woman, whom he had expected to find an ignorant fisher-wench, hoity-toity and brazen or tearful and sullen, was making him painfully conscious of his own boorishness. Out she must go, of course, after the funeral; but he wished he had seen a little more of good company in the past, and he kept up his temper by reminding himself that he had been ill-used and denied a college education.

The meal ended, she rose and swept him a curtsey, neither over-friendly nor standoffish. "Peggy will bring you the brandy and water," she said, "or, if you prefer it, there is rum in the house. I thought, maybe, the weather was warm for a fire; but, as you see, it is laid, and only needs a light if you feel chilly. Your father liked to sit by a fire even on summer evenings." She did not add that he had invariably come drunk to bed. "But there," she ended with a faint smile, "we have the old servants, and they are not likely to neglect you."

A second curtsey, and she was gone. Roger sat down by the cold hearth and stroked his chin. By-and-by he looked at his fingers, as if (absurdly enough) to make sure he had not shaken hands with her.

Next day this armed but almost friendly neutrality continued. Roger spent the hours in striding about his acres, planning how to improve them and curtail expenses here and there. The farm to be sure was neglected; but here and there he noted improvements, and caught himself wondering if the credit of them belonged to the old man. He left the household to his stepmother, and returned to find his meals ready and his appetite courted by some of his favourite dishes.

At dinner Mrs. Stephen produced and handed to him a sheet of paper. "I thought it might save trouble," she explained, "if I made out a list of folks to be invited to the funeral. You understand that I've only put down those that occurred to me. Please take the list away and strike out or add any names you choose."

The decaying Cornish mansion called Steens, with its bullet-pocked walls and ragged yew trees, introduces a collection that consistently sets precise, often bleak landscapes against eruptions of violence or the uncanny. Quiller-Couch’s narrators—a doctor at the Hotwells, a traveller encountering a mazed election—speak in measured, period-conscious voices that contrast sharply with the wild events they describe. The stories, published in 1903, share a midwinter frame and a taste for historical settings (1734, 1768) where the rational order of the day is punctured by something older or stranger.

Landscape as Foreboding

The collection opens with a house that ‘you might pass many times without suspecting it of a dark history’. Quiller-Couch devotes careful attention to the setting of Steens: the ‘bare’ country sloping toward Mount’s Bay, the ‘high wall enclosing a courtlage’, the ‘two ragged yew trees’. The description is deliberately anti-picturesque—the landscape ‘comes near to be savage without attaining to the romantic’. This refusal of easy sublimity is characteristic. The narrator notes that the modern farm-buildings ‘wear a friendlier look than the old mansion’, setting up a contrast between a cheerfully dilapidated present and a brooding, dignified past. The bullet-marks on the wall, pointed out by a driver, become the gateway to a story that the narrator expects the reader to find hard to believe. The physical environment is not mere backdrop but an active participant in the tale’s credibility.

Comic and Ironic Voices

Not all the tales are sombre. In ‘The Hotwells Duel’, the narrator, Dr. Frampton, recounts his encounter with a young Scot, Mr. MacRea, whose speech is a delight of pedantic self-awareness. MacRea apologises for his breeches—‘they gall me woundily’—and worries about his French accent, which he has ‘acquired entirely from books’. The comedy arises from the clash between his elaborate, bookish manner and the practical embarrassments of his situation. The doctor’s dry, understated responses (‘I put this by’) heighten the effect. Later, a West Indian friend accuses the doctor of ‘pusillanimity’ for refusing to act as a second in a duel, and the friend’s melodramatic indignation is undercut by his practical recourse to ‘two Irish gentlemen on the landing above’. Quiller-Couch uses these ironic juxtapositions—between high-flown language and mundane reality—to create a tone that is both amused and slightly uneasy.

The Unreliable or Partial Witness

Several stories in the collection are framed by narrators who are themselves observers rather than central actors. The doctor in ‘The Hotwells Duel’ is drawn into events he would rather avoid; the traveller at Steens hears a story he finds hard to swallow. This narrative distance creates a sense of uncertainty. The reader is given the account but must judge its reliability. In the opening tale, the narrator explicitly anticipates disbelief: ‘Then follows a story which you will find some difficulty in swallowing.’ The tales thus become not just stories but performances of storytelling, where the teller’s attitude—sceptical, amused, or awed—shapes the reader’s response. This self-conscious framing is a recurring structural pattern, inviting attention to how tales are told and received.

These midwinter tales reward attention to their narrative frames and the precise, often ironic, voices of their tellers. Quiller-Couch’s settings—a Cornish manor, the Hotwells spa, a contested election—are drawn with a historian’s eye for detail, but the stories themselves resist easy categorisation as mere period pieces. The collection’s title, Two Sides of the Face, hints at the doubleness that runs through the book: the visible and the hidden, the comic and the violent, the credible and the marvellous.

I remember winter evenings in my grandmother’s house, the way she’d close the curtains against the dark and open an old book. Reading about Quiller-Couch’s bullet-marked mansion, I felt that same damp chill of history pressing in. Priscilla's Spies — Text and Context gave me a similar ache, quiet terror hiding behind ordinary brick walls, secrets as patient as mine were back then.

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