The Proof of the Pudding — Text and Context

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Nicholson, Meredith, 1866-1947, Taffs, C. H. (Charles H.), 1876-1964 [Illustrator] Project Gutenberg 2021 Not confirmed
Inheritance and succession -- Fiction; Adoptees -- Fiction; Man-woman relationships -- Fiction; Indiana -- Social life and customs -- Fiction Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 94,144
Reading time 410 min
Text sections 33

This digital edition of The Proof of the Pudding — Text and Context is described by source-level measurements including 94,144 words, 6 hr 50 min estimated reading time, and 33 detected text sections.

The text analysis averages about 16.4 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 “Inheritance and succession -- Fiction,” connecting these edition facts with the source record’s subject description.

Meredith Nicholson's 1916 novel uses precise social detail and contrasting dialogue to explore inheritance, adoption, and romance in Indiana. The excerpts reveal a focus on class dynamics, moral choices, and the tension between public revelry and private resolve.
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Editorial Edition Score 4.9/5

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  • Title & short description10 pts
  • Source metadata20 pts
  • Text length15 pts
  • Chapters / structure15 pts
  • EPUB file integrity20 pts

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Read the Text

pectedly, and the line described a semicircle and caught a limb of the sycamore under which she was lying.

His vigorous tugs only tightened it the more, and she began speculating as to whether she should rise and loosen it or await his own solution of the difficulty. If it became necessary for him to leave the fallen tree to effect a rescue, he must find her hiding-place; and her dignity, she argued, would suffer if she allowed him to discover that she had been watching him. He now began moving toward the bank with the becoming air of determination that had attended his practice with the rod. She rose quickly, jumped up and caught the bough that held the fly, and tore it loose with a handful of leaves.

“Lordy!” he exclaimed, staring hard. “Did you buy a ticket for this show, or did you stroll in on a rain-check?”

“Oh, I was here first; but it isn’t my river!” she replied easily. “They don’t seem to be biting very well,” she added consolingly.

“Biting? Well, I should say not! There hasn’t been a minnow in this river since the Indians left. I’m just practicing.”

“You’ve done a lot of it,” said Nan, looking about for her hat and picking it up as an earnest of her immediate departure.

He dropped his rod and walked toward her guardedly and with an assumed carelessness, his hands in his pockets.

“That’s one good thing about fly-fishing,” he observed detainingly; “you don’t need to bother about the fish so long as there’s plenty of water.”

He noted the handkerchief that she had spread on a bush to dry, and eyed her with appreciation as she thrust the pins through her hat.

“Country Club?” he asked casually.

She nodded affirmatively, glancing toward the red roof of the clubhouse, and brushed the bits of bark and earth from her skirt. If he meant to annoy her with further conversation, it might be just as well to make it clear that the club afforded an easily accessible refuge.

“Excuse me, but you’re Miss Farley,--yes? It’s kind o’ funny,” he continued, still lounging toward her, “but I remember you away back when we were both kids--my name being Amidon--Jeremiah A., late of good old Perry County on La Belle Rivière--and I’ve seen you lots o’ times downtown. I’m connected in a minor capacity with the well-known house of Copeland-Farley Company, drugs, wholesale only--naturally sort o’ take an interest in the family.”

It was still wholly possible for her to walk away without replying; and yet his slangy speech amused her, and his manner was deferential. She remembered the Amidons from her childhood at Belleville, on the Ohio, and she even vaguely remembered the boy this young man must have been. Within three yards of her he paused, as though to reassure her that he was not disposed to presume upon an acquaintance that rested flimsily upon knowledge that might have awakened unwelcome memories; and seeing that she hesitated, he remarked:--

“A good deal has happened since you sat in front of me in the public school down there. I guess a good deal has happened to both of us.”

This was too intimate for immediate acceptance; but she would at least show him that whatever changes might have taken place in their affairs, she was not a snob.

“You are Jerry; the other Amidon boy was Obadiah. I remember him because the name always seemed so funny.”

“You’re playing safe! Obey died when he was ten--poor little kid! Scarlet fever. That was right after the flood you floated away on.”

She murmured her regret at the death of his brother. It was, however, still a delicate question just how much weight should be given to these slight ties of their common youth.

The disagreeable connotations of his introduction--the southward-looking vista that led back to the poverty and squalor to which she was born--were rather rosily obscured by the atmosphere of assured blitheness he exhaled. He seemed to imply that both had put Belleville behind them and that there was nothing surprising in this meeting under happier conditions. He was a clean-cut, well-knit, resolute young fellow. His brownish hair was combed back from his forehead with an onion-skin smoothness; indeed, he imparted a general impression of smoothness. His gray eyes expressed a juvenile innocence; his occasional smile was a slow, reluctant grin that disclosed white, even teeth. A self-confident young fellow, a trifle fresh, and yet with an unobtrusive freshness that was not displeasing, Nan thought, as she continued to observe and appraise him.

Meredith Nicholson opens The Proof of the Pudding with a sustained social scene at a country club, where the lingering luncheon and the behavior of the Kinney party establish a world of leisure and excess. The narration quickly pivots to Nan’s internal discomfort, contrasting the raucous company with her growing sobriety. Nicholson’s diction—words like “maudlin,” “mockingly,” and “abstemiousness”—signals a moral judgment embedded in the descriptive texture. The dialogue, too, carries weight: Billy’s earnest declarations and Nan’s measured responses reveal a relationship tested by environment. The author’s choice to set key emotional decisions against a backdrop of drunken revelry underscores the novel’s interest in character under pressure.

Dialogue as a Window to Character

Nicholson crafts dialogue that reveals not just plot but moral stance. In the excerpt, Billy’s speech shifts from casual to earnest: “I’ve cut it out; passed it up for good. I’m going to live straight and try to get back all I’ve lost.” The repetition and short clauses convey a man reforming himself. Nan’s responses are more guarded: “But we finished that, Billy. We can’t go back to it again!” Her reluctance is voiced through negation and finality. The author avoids lengthy monologues; instead, characters speak in bursts that mirror their emotional states. Even minor characters like Andrews blurt out confessions (“Always meant to tell you I loved you, Nan”) in a way that feels both impulsive and revealing of the social looseness of the party. Nicholson uses these exchanges to build tension between public performance and private truth.

Social Setting and Moral Contrast

The country club setting is not mere backdrop but an active force in the narrative. Nicholson describes the waiters, the victrola, the “jingling tray” of high-balls, and the “flushed, rumpled, maudlin” guests. These details accumulate to create a atmosphere of excess from which Nan recoils. The author contrasts this with the “cool night air” and “bright shield of stars” during the car ride—a shift from indoor confinement to outdoor clarity. Billy’s abstemiousness is noted: “Billy was the only sober man in the company.” This detail, placed amid the chaos, elevates him in Nan’s eyes. Nicholson uses the physical environment to mirror moral choices: the club represents temptation and decline, while the open road suggests possibility and renewal. The setting thus becomes a tool for character development, not just decoration.

Narrative Voice and Internal Conflict

Nicholson employs a close third-person narration that dips into Nan’s thoughts, allowing readers to track her shifting perceptions. Phrases like “Nan’s thoughts were sober ones” and “she gave to his good conduct during the evening an exaggerated importance” reveal her self-awareness and rationalizations. The narrator does not simply report actions but interprets them: “Like many young girls she had found the adoration of an older man flattering.” This authorial commentary adds a layer of psychological depth. The tension between what Nan says aloud and what she thinks internally—her “anxiety to be just”—creates a nuanced portrait of a young woman making a consequential decision. Nicholson balances sympathy with critical distance, never fully endorsing Nan’s judgments.

Recurring Motifs: Inheritance and Trust

Though the excerpts are limited, the catalog subjects—inheritance, adoption, man-woman relationships—are hinted at in the text. Nan’s reference to a Farley who “had been cruelly unjust to her” and who “deliberately planned to give the bulk of his fortune to charity” introduces a conflict over money and loyalty. Billy’s mention of “all I’ve lost” and his desire to “get back” what’s gone suggests financial stakes. The title itself, The Proof of the Pudding, implies a test of value—perhaps of character or of promises. Nicholson weaves these motifs through dialogue and internal monologue, making inheritance not just a plot device but a measure of personal integrity. The reader is left to wonder how these early tensions will resolve, but the groundwork is laid with careful specificity.

Readers attentive to Nicholson’s craft will find a novel that rewards close attention to its verbal texture. The author’s choices in dialogue, setting, and narrative voice create a layered exploration of social mores and personal ethics. Rather than a simple romance or inheritance tale, The Proof of the Pudding offers a study in how people present themselves versus who they are—a theme as relevant today as in 1916.

Long ago I shelved The Proof of the Pudding, and its quiet war between public cheer and private duty stayed with me. Somehow it reminds me of another old friend, Legend — A Reader’s Guide, whose pages whisper about the same lonely choosing. They sit together now, two patient neighbors.

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