Darkness and Daylight: A Novel — Themes and Context

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In Category - Classic Romance
Holmes, Mary Jane, 1825-1907 Project Gutenberg 2003 Not confirmed
Love stories; Guardian and ward -- Fiction; Marriage -- Fiction; Blind -- Fiction; Mental illness -- Fiction Readers of public-domain and historical texts
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Edition facts

Words 129,900
Reading time 565 min
Text sections 11

For Darkness and Daylight: A Novel — Themes and Context, the stored edition analysis reports 129,900 words, 9 hr 25 min estimated reading time, and 11 detected text sections.

The text analysis averages about 23.5 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 “Love stories,” connecting these edition facts with the source record’s subject description.

Mary Jane Holmes's 1864 novel uses contrasting imagery of darkness and daylight to explore themes of blindness, mental illness, and guardianship. The narrative shifts between gothic melancholy and domestic realism, with a distinctive voice that lingers on sensory details and emotional extremes.
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Editorial Edition Score 4.8/5

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CHAPTER I. COLLINGWOOD II. EDITH HASTINGS GOES TO COLLINGWOOD III. GRACE ATHERTON IV. RICHARD AND EDITH V. VISITORS AT COLLINGWOOD AND VISITORS AT BRIER HILL VI. ARTHUR AND EDITH VII. RICHARD AND ARTHUR VIII. RICHARD AND EDITH IX. WOMANHOOD X. EDITH AT HOME XI. MATTERS AT GRASSY SPRING XII. LESSONS XIII. FRIDAY XIV. THE MYSTERY AT GRASSY SPRING XV. NINA XVI. ARTHUR'S STORY XVII. NINA AND MIGGIE XVIII. DR. GRISWOLD XIX. EX OFFICIO XX. THE DECISION XXI. THE DEERING WOODS XXII. THE DARKNESS DEEPENS XXIII. PARTING XXIV. THE NINETEENTH BIRTHDAY XXV. DESTINY XXVI. EDITH AND THE WORLD XXVII. THE LAND OF FLOWERS XXVIII. SUNNYBANK XXIX. THE SISTERS XXX. ARTHUR AND NINA XXXI. LAST DAYS XXXII. PARTING WITH THE DEAD AND PARTING WITH THE LIVING XXXIII. HOME XXXIV. NINA'S LETTER XXXV. THE FIERY TEST XXXVI. THE SACRIFICE XXXVII. THE BRIDAL XXXVIII. SIX YEARS LATER

DARKNESS AND DAYLIGHT.

Collingwood was to have a tenant at last. For twelve long years its massive walls of dark grey stone had frowned in gloomy silence upon the passers-by, the terror of the superstitious ones, who had peopled its halls with ghosts and goblins, saying even that the snowy-haired old man, its owner, had more than once been seen there, moving restlessly from room to room and muttering of the darkness which came upon him when he lost his fair young wife and her beautiful baby Charlie. The old man was not dead, but for years he had been a stranger to his former home.

In foreign lands he had wandered--up and down, up and down--from the snow-clad hills of Russia to where the blue skies of Italy bent softly over him and the sunny plains of France smiled on him a welcome. But the darkness he bewailed was there as elsewhere, and to his son he said, at last, "We will go to America, but not to Collingwood--not where Lucy used to live, and where the boy was born."

So they came back again and made for themselves a home on the shore of the silvery lake so famed in song, where they hoped to rest from their weary journeyings. But it was not so decreed. Slowly as poison works within the blood, a fearful blight was stealing upon the noble, uncomplaining Richard, who had sacrificed his early manhood to his father's fancies, and when at last the blow had fallen and crushed him in its might, he became as helpless as a little child, looking to others for the aid he had heretofore been accustomed to render. Then it was that the weak old man emerged for a time from beneath the cloud which had enveloped him so long, and winding his arms around his stricken boy, said, submissively, "What will poor Dick have me do?"

"Go to Collingwood, where I know every walk and winding path, and where the world will not seem so dreary, for I shall be at home."

The father had not expected this, and his palsied hands shook nervously; but the terrible misfortune of his son had touched a chord of pity, and brought to his darkened mind a vague remembrance of the years in which the unselfish Richard had thought only of his comfort, and so he answered sadly, "We will go to Collingwood."

One week more, and it was known in Shannondale, that crazy Captain Harrington and his son, the handsome Squire Richard, were coming again to the old homestead, which was first to be fitted up in a most princely style. All through the summer months the extensive improvements and repairs went on, awakening the liveliest interest in the villagers, who busied themselves with watching and reporting the progress of events at Collingwood. Fires were kindled on the marble hearths, and the flames went roaring up the broad-mouthed chimneys, frightening from their nests of many years the croaking swallows, and scaring away the bats, which had so long held holiday in the deserted rooms. Partitions were removed, folding doors were made, windows were cut down, and large panes of glass were substituted for those of more ancient date. The grounds and garden too were reclaimed from the waste of briers and weeds which had so wantonly rioted there; and the waters of the fish- pond, relieved of their dark green slime and decaying leaves, gleamed once more in the summer sunshine like a sheet of burnished silver, while a fairy boat lay moored upon its bosom as in the olden time. Softly the hillside brooklet fell, like a miniature cascade, into the little pond, and the low music it made blended harmoniously with the fall of the fountain not far away.

From its first sentence—'Collingwood was to have a tenant at last'—the novel establishes a gothic atmosphere of prolonged neglect and spectral memory. The opening chapter dwells on 'massive walls of dark grey stone' and a 'snowy-haired old man' who mutters of darkness, setting a tone of brooding melancholy. Yet the prose quickly modulates into domestic scenes of caregiving and strained relationships, as when Nina tends to the delirious Edith. Holmes's narrative voice shifts between these registers, sometimes lingering on sensory details like the 'plaintive German air' sung by the two women, and at other times moving briskly through plot developments.

Gothic Beginnings and Domestic Interiors

The novel opens with a gothic set piece: Collingwood, a deserted mansion 'frowned in gloomy silence' for twelve years, its halls 'peopled with ghosts and goblins.' The language is deliberately heightened—'the terror of the superstitious ones'—and the backstory of the old man's wandering through foreign lands reinforces a sense of restless sorrow. But this gothic mode does not persist. Once the narrative moves indoors, the prose becomes more intimate, focusing on the physical details of sickroom care: the 'sharp, polished scissors' poised to cut Edith's hair, Nina's apron shielding the 'wealth of raven tresses.' Holmes juxtaposes the grand, spectral setting with close, tactile observations of domestic life, creating a tension between the melodramatic and the mundane.

Voice and the Management of Sympathy

Holmes controls reader sympathy through shifts in narrative distance. Early passages about Richard's affliction—'a fearful blight was stealing upon the noble, uncomplaining Richard'—use a formal, almost eulogistic tone. In contrast, the scenes between Nina and Edith are rendered with a more colloquial, immediate voice: 'Miggie's hair shall not be harmed,' Nina declares, and her repeated request to 'scratch it out' becomes a refrain that underscores her childlike determination. The narrator occasionally steps back to comment on the 'singular power' of the 'blue-eyed blonde' over the 'dark-eyed brunette,' framing the relationship in almost allegorical terms. These tonal shifts—from solemn to tender to faintly ironic—keep the reader's allegiance fluid, never settling into a single emotional register.

Pacing Through Repetition and Suspense

Holmes uses repetition to control pacing, particularly in the scenes of Edith's delirium. The phrase 'scratch it out' recurs across multiple pages, building a private, obsessive rhythm that mirrors Nina's fixation. Similarly, the 'plaintive German air' sung by both women is described in looping, cumulative sentences: 'now swelling load and full... and now sinking to a plaintive wail.' This musical repetition slows the narrative, drawing out moments of crisis. Yet the novel also accelerates through abrupt transitions—'It came to her one night'—and through the use of short, declarative sentences that cut through the languor. The result is a rhythm that alternates between lingering and lurching forward, keeping the reader attuned to both the psychological depth and the forward momentum of the plot.

Readers attentive to shifts in narrative voice will notice how Holmes uses the contrast between darkness and daylight not only as a thematic motif but as a structural principle. The prose moves between gothic grandeur and domestic intimacy, between formal lament and colloquial dialogue, between slow, musical passages and brisk, decisive action. Observing these modulations enriches the experience of a novel that, despite its length, rewards close attention to its craft.

Holmes's novel taught me how blindness can sharpen what the heart perceives—how the dark rooms of grief still hold a lamp for those who tend them. That quiet guardianship reminds me of another story I’ve shelved for years, where a widow’s loneliness becomes its own kind of seeing. The Widow [To Say Nothing of the Man] — Key Ideas to Explore seems to whisper the same truth, page after patient page.

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