Fiander's Widow: A Novel — Edition Insights
Edition facts
Fiander's Widow: A Novel — Edition Insights can be approached with a clearer sense of reading commitment from its source measurements: 75,006 words, 5 hr 27 min estimated reading time, and 7 detected text sections.
The text analysis averages about 17.3 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 “Widows -- Fiction,” connecting these edition facts with the source record’s subject description.
Calculated from edition completeness, EPUB availability, text structure and catalogue metadata. Not a user rating.
How this score is calculated
- Description quality20 pts
- Title & short description10 pts
- Source metadata20 pts
- Text length15 pts
- Chapters / structure15 pts
- EPUB file integrity20 pts
Total of 100 points, scaled to a 2.5-5.0 range. Editions with an empty description or a missing EPUB file are not scored.
Read the Text
e said. ‘My dear grandfather’s mare, and the trap, and even my cocks and hens. Dear grandfather! he always used to tell me that everything in the whole place was to be mine when he died—and now they won’t so much as leave me the old rooster.’
‘Poor maid!’ ejaculated Fiander, full of commiseration, and guiltily conscious of having bought that turnip-hoer a bargain. ‘’T is unfort’nate for ye, I’m sure. Did n’t your grandfather make no provision for ’ee?’
‘Oh, it is n’t that I mind,’ retorted Rosalie quickly; ‘it’s seeing everything go. Everything that I love—all the live things that I knew and used to take care of—even my churn, and my cheese-presses—granfer used always to say I was wonderful about cheese-making—and the pails and pans out of my dairy—everything that I kept so nice and took such pride in. They’ll all go to strangers now—all scattered about, one here, one there. And to-morrow they’ll be selling the things out of the house. If they leave me the clothes I stand up in that’ll be all.’
She sobbed so pitifully and looked so forlorn that Fiander’s heart was positively wrung.
‘My word!’ he ejaculated, ‘I do ’low it’s hard—’t is that, ’t is cruel hard; what was ye thinkin’ o’ doin’, my dear? You’ll have some relations most like as ’ll be glad to take ye in?’
‘I have n’t a relation in the world,’ returned Rosalie with another sob; ‘I had nobody but grandfather. If I had,’ she added quickly, ‘I don’t know that I should have gone to them—I don’t like to be beholden to anybody. I’ll earn my own bread, though I don’t know how I shall do it; grandfather could never bear the notion of my going to service.’
‘Ah! and could n’t he?’ returned Fiander, deeply interested.
‘No, indeed. Of course when he was alive we never thought of things coming to this pass. He always told me I should be mistress here when he was gone, and that I should be well off. Dear granfer, he grudged me nothing.’
‘Such a good education as he gi’ed ye too!’ observed Elias commiseratingly.
‘Oh, yes. I was at boarding-school for three years. I can play the piano and work the crewel-work, and I learnt French.’
‘Dear heart alive!’ groaned Fiander, ‘and now ye be a-thrown upon the world. But I was meanin’ another kind of education. Cheese-making and dairy-work and that—you was sayin’ you was a good hand at suchlike.’ While he spoke he eyed her sharply, and listened eagerly for the response.
‘Yes, yes,’ agreed Rosalie, ‘I can do all that. We made all kinds of cheeses every day in the winter, “Ramil,” and “Ha’skim,” and “Blue Vinny” and all. Yes, I was kept busy—my butter always took top price in the market; and then there were the accounts to make up of an evening. My life was n’t all play, I can tell you, but I was very happy.’
‘My missus,’ remarked Fiander, following out his own train of thoughts—‘that’s the second one: I buried her a year come Michaelmas—she was a wonderful hand at the Ha’skim cheeses. A very stirring body she was! I do miss her dreadful; and these here dairy-women as ye hire they be terrible folk for waste—terrible! I reckon I’ll be a lot out of pocket this year.’
‘We all have our troubles, you see,’ said Rosalie, with tears still hanging on her black lashes. ‘Well, I thank you for your kind words, sir; they seem to have done me good. I think I’ll go in, now. I don’t want to meet any of the folk.’
‘Bide a bit, my dear,’ said the farmer, ‘bide a bit! I’ve summat to ax ye. You bain’t thinkin’ of going to service, ye say, and ye don’t rightly know where to look for a home?’
Rosalie stared at him. He was laughing in a confused, awkward way, and his face was growing redder and redder. Before she could answer he went on:
‘There’s your name now—it be a pretty ’un. I do ’low it ’ud seem almost a pity to change it, an’ yet if ye was to lose the name ye might get the thing.’
‘I don’t understand you, sir,’ cried she, growing red in her turn.
The novel begins not with its widow but with a farm sale: the auction of old Giles Stelling's effects after his death from an apoplectic fit brought on by impending ruin. The opening pages dwell on the material culture of a Dorset dairy farm—milk-pails, cheese-tubs, cream-tins, and 'strange new-fangled reapers-and-binders' that some neighbours consider 'a kind of flying in the face of Providence.' This attention to agricultural technology and its social reception sets the tone for a rural romance grounded in economic realities.
The first encounter between Rosalie Fiander and the bicyclist Elias Fiander (the widow's stepson, returning after ten years) is structured around a horse accident. Rosalie's embarrassment at being stared at, her sharp jerk of the reins, and the subsequent stumble of 'Nigger' all unfold with a precise, almost documentary eye for carriage-driving mishaps. The stranger's practical concern—'His legs should be attended to at once'—contrasts with the 'joyful wonder' in his gaze, a tension that the excerpts leave unresolved.
The Auction as Social Microcosm
The sale scene functions as a compact social portrait. Bidders are motivated by the knowledge that 'things would go cheap,' and their eagerness is undimmed by the 'melancholy circumstances.' The narrator notes that old Stelling 'had always kept pace with the times' and adopted new appliances, a decision his neighbours now lament with 'doleful ‘ah’s’ and ‘ayes’ and shakings of heads.' This ambivalence toward innovation—machinery as both progress and precipitant of ruin—is a recurring thread.
One energetic purchaser drives eighteen miles to secure a 'particularly complicated machine,' suggesting a regional network of farmers willing to travel for specialized equipment. The auction's geography—the great barn, the yard 'desolate to-day albeit crowded'—is sketched with enough specificity to anchor the scene. The excerpts do not reveal who buys what, but the emphasis on the material remnants of a failed farm establishes a world where economic pressures shape personal fates.
Dialect, Voice, and Regional Identity
The prologue's epigraphs pair Wordsworth's formal verse with William Barnes's Dorset dialect line 'A wife’s be the cheapest ov hands,' immediately signaling a dual linguistic register. The narrative prose itself is standard literary English, but the characters' speech—when it appears—carries regional markers. The stranger's offer to lead the horse is phrased with a colloquial contraction: ''T is merely a fancy of mine that takes me there.'
The text also includes a dedication to 'True Daughters of “Dorset Dear”' who acquainted the author with 'the peculiarities of its dialect and the humours of its people.' This frames the novel as an ethnographic as well as romantic project. The excerpts do not contain extended dialect passages, but the framing suggests that the full work likely weaves Dorset speech patterns into dialogue, a feature that aligns with the catalog subject of Dorset fiction.
The Gaze and Its Complications
When Rosalie first notices the bicyclist climbing the hill, she becomes 'the object of a somewhat unusual scrutiny.' The narrator describes his look as containing 'curiosity' and 'admiration,' but also 'a wonder, an almost incredulous delight'—the sort of gaze one might give 'the sweetheart from whom he had been parted for years.' Rosalie's reaction is embarrassment and confusion; she 'coloured high' and hastens away.
This moment of mutual recognition is undercut by practical disaster: the horse's stumble and the stranger's shift to 'respectful concern.' The excerpts do not reveal whether Rosalie knows who he is, but the intensity of his look suggests a pre-existing connection. The scene is structured as a set piece of delayed revelation, typical of Victorian romance, but grounded in the specific mechanics of a gig accident on a steep Dorset lane.
Readers should note that the excerpts cover only the prologue and a portion of Part I. The catalog subjects—widowhood, man-woman relationships, dairy farming—are all present in these early pages, but the novel's full treatment of them remains to be seen. Pay attention to how the dialect and machinery details recur, and whether the initial tension between economic realism and romantic plotting is sustained. The dedication to 'Dorset Dear' suggests a localist sensibility that may reward attention to place-specific language and custom.
In Fiander's Widow, the hum of the auction ring settles into the hush of two people who have known grief and quiet need. I find that same unhurried recognition in Bob Bowen Comes to Town — Inside the Classic, where a stranger’s arrival stirs old rooms gently. Both novels breathe with the good earth of country lives, side by side on my shelf.
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