The optimist — Reading Companion
Edition facts
Before opening The optimist — Reading Companion, the edition data offers a quick orientation: 77,102 words, 5 hr 36 min estimated reading time, and 14 detected text sections.
The text analysis averages about 14.9 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 “Clergy -- England -- Fiction,” connecting these edition facts with the source record’s subject description.
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- Source metadata20 pts
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- Chapters / structure15 pts
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Read the Text
“How many children are there?”
“Three, at home. My eldest brother is at school.”
“What are the names of the other ones?”
“Valeria and Flora and Adrian. Valeria and Flora are sometimes called Val and Flossie.”
He had discovered afterwards that they were seldom called anything else, except by their father.
“Why don’t Papa and Mamma come in this little carriage too?”
“Because there wouldn’t have been room. They will come in the brougham, later on.”
“They won’t go back to India without saying good-bye first, will they?” he asked wistfully.
He had known for a long time that Papa and Mamma were going back to India and leaving him at St. Gwenllian.
“No, I promise you they won’t do that,” had said Lucilla seriously.
Owen had felt entirely that her word was one to be relied upon. Very few grown-up persons gave him that feeling.
He remembered extraordinarily little about the house at St. Gwenllian. It was large, and cold, and there were a good many pictures on the walls, but the only two rooms of which he retained a mental photograph were the schoolroom, and the Canon’s library.
He saw the latter room first.
Lucilla had taken him there at once.
He remembered the books against the wall--numbers and numbers of books--and the big black writing table, with a small bowl of violets next to a pile of papers, and above the writing-table a finely-carved ivory figure, crucified upon a wooden cross, set in a long plaque of pale-green velvet.
Lucilla had seemed to be disappointed because her father was out.
“He said he did so want to be here to welcome you himself, but he is always very busy. Some one sent for him, I think.”
The youthful Owen Quentillian had cared less than nothing for the non-appearance of his future host and tutor. The prospect of the schoolroom tea had touched him more nearly.
But the schoolroom tea had turned out to be a sort of nightmare.
Even now, he could hardly smile at the recollection of that dreadful meal.
Eventually Val and Flossie had resolved themselves into good-natured, cheerful little girls, and Adrian into a slightly spoilt and rather precocious little boy, addicted to remarks of the type hailed as “wonderful” in the drawing-room and “affected humbug” in the schoolroom.
But on that first evening, Val and Flossie had been two monsters with enormous eyes that stared disapprovingly, all the time, straight at Owen Quentillian and nobody else. Adrian had been an utterly incomprehensible, rather malignant little creature, who had asked questions.
“Can you see colours for each day of the week?”
Quentillian wondered whether he had looked as much alarmed as he had felt, in his utter bewilderment.
“_I_ think Monday is blue, and Tuesday light green, and Wednesday dark green,” Adrian had then proclaimed, triumphantly, and casting his big brown eyes about as though to make sure that his three sisters had heard the enunciation of his strange creed.
“Adrian is not a bit like other little boys,” one of them had then said, with calm pride.
Owen Quentillian, unconscious of irony, had ardently hoped that she spoke truly.
Adrian had pinched him surreptitiously during tea, and had laughed in a way that made Owen flush when they had asked him what India was like and he had answered “I don’t know.”
He had thought the thick bread-and-butter nasty, and wondered if there was never any cake. A vista of past teas, with sugared cakes from the drawing-room, especially selected by himself, and brought to his own little table on the back veranda by the Ayah, made him choke.
There had been a dreadful moment when he had snatched at the horrid mug they had given him and held it before his face for a long, long time, desperately pretending to drink, and not daring to show his face.
Lucilla, seated at the head of the table, had offered the others more tea, but she had said nothing to the little strange boy, and he still felt grateful to her.
The miserable, chaotic jumble that was all that his mind retained, of interminable slices of bread-and-butter that tasted like sawdust, of thick, ugly white china, of hostile or mocking gazes, of jokes and allusions in which he had no share, all came to a sudden end when he had given up any hope of ever being happy again so long as he lived.
Canon Morchard had come into the room.
The novel opens aboard a departing ship, with Owen Quentillian recalling his first arrival at St. Gwenllian as a child. The memory is rendered through a catechism-like exchange with fifteen-year-old Lucilla Morchard, who announces she will “look after the house and the children, and now I’m going to look after you as well.” This early scene establishes a pattern: the narrative often filters experience through remembered dialogue and the careful, sometimes ironic, observation of social roles. The Canon’s library—lined with books, dominated by a black writing desk and a bowl of violets—becomes a recurring setting, a stage for paternal authority and its subtle negotiations.
A Father’s Letters and a Son’s Evasions
The correspondence between Canon Morchard and his son Adrian reveals the novel’s central dynamic. The Canon writes in a tone of tender reproach, insisting Adrian return home on Saturday rather than Monday, framing his request as “a reminder, from one who has had to be both mother and father to you.” Adrian’s reply, addressed to Lucilla, is terse and strategic: he will comply with his father’s wish but plans to leave for London on Monday, instructing her to “persuade him to have up the port on Sunday night.” The Canon, reading a censored version, interprets Adrian’s submission as eagerness to do right. The narrator notes that Lucilla does not voice her own reading—that fear, not filial devotion, motivates Adrian. This gap between the Canon’s interpretation and the reader’s evidence is a key structural device.
The Weight of Unspoken Knowledge
Lucilla functions as a silent observer throughout the excerpts. When the Canon, after a visit from the builder Mr. Duffle, speaks of being “blinded” by “trivial vulgarities” until a “flash of generous delicacy” rebukes him, Lucilla deduces that Mr. Duffle’s coarseness has been redeemed in the Canon’s eyes. Yet she keeps her inferences private. The narrative repeatedly withholds her perspective from the Canon, creating a layered irony: the reader sees both the father’s self-deception and the daughter’s restrained judgment. This technique extends to Adrian’s “impassioned letter” to Lucilla, whose contents are only hinted at, and to Flora’s incurious question—“what is the matter?”—which Lucilla answers with deliberate vagueness. The story advances as much through what is left unsaid as through direct action.
War’s Aftermath and the Clerical Household
The Canon remarks that having Adrian at home after “these terrible war years” has been “an unutterable joy,” yet he now insists it is “more than time that Adrian found his vocation.” The war itself is not depicted, but its presence is felt in the strained reunion and in Adrian’s restless movements. The household at St. Gwenllian—large, cold, with a schoolroom and a library—is the stage for these post-war adjustments. The Canon’s optimism, his tendency to see submission as virtue and to recast disappointment as a “rung of the ladder,” colors every interaction. The excerpts do not reveal Adrian’s war experience directly, but the tension between the father’s hopeful narrative and the son’s evasive behavior suggests a deeper, unarticulated conflict.
Voice and Structure: Dialogue as Revelation
Delafield’s prose relies heavily on dialogue and reported speech to advance character and theme. The opening exchange between young Owen and Lucilla is almost entirely question-and-answer, establishing Lucilla’s authority and Owen’s vulnerability. Later, the Canon’s letters and Adrian’s replies are given in full, allowing the reader to compare the father’s ornate, self-justifying language with the son’s clipped, pragmatic responses. The narrator’s own voice is spare, often limited to noting what Lucilla “did not say” or what the Canon “had said nothing of.” This restraint creates a texture of implication: the reader must piece together motives from what is performed rather than explained. The result is a novel that rewards attention to the gaps between speech and intention.
Readers approaching The Optimist for the first time will find that the excerpts offer a concentrated sample of its method: the interplay of letter and dialogue, the centrality of Lucilla’s unspoken observations, and the Canon’s persistent reframing of events. Pay particular attention to what characters choose not to say, and to the moments when the narrator withholds explicit judgment. The novel’s title itself may be read as both description and question.
Canon Morchard’s relentless cheeriness reminds me of another household’s quiet unraveling, the kind bred by unspoken rules. Reading about his tidy faith, I keep recalling the shadows in The end of the house of Alard — Inside the Classic—how duty and denial wear the same polite mask. Both feel like watching tea grow cold at a table where no one dares to speak.
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