His fortunate Grace — Context and Discussion
Edition facts
For His fortunate Grace — Context and Discussion, the stored edition analysis reports 36,241 words, 2 hr 38 min estimated reading time, and 25 detected text sections.
The text analysis averages about 13.9 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 “Courtship -- Fiction,” connecting these edition facts with the source record’s subject description.
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- 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
ite the fact that she had elected the rôle of mental muscularity, she gave studious application to her attire: her position and all that pertained to it were her enduring religion; the interests of the flashing seasons were unconsciously patronised rather than assimilated. As she walked up the Avenue toward the house of her friend, Mrs. Latimer Burr, she looked like a well-grown lad masquerading in a very smart outfit of brown tweed, so erect and soldierly was her carriage, so independent her little stride. A bunch of violets was pinned to her muff, another at her throat, and she wore a severe little toque instead of the picture-hat she usually affected.
She smiled as she swung along, and one or two women looked back at her and sighed. She was quite happy. She had never known an ungratified wish; she was spoken of in the newspapers as one of the few intellectual young women in New York society; and now she had a really serious object in life. She felt little spasms of gratification that she had been born to set the world to rights--she and a few others: she felt that she was not selfish, for she grudged no one a share in the honours.
When she reached Mrs. Burr’s house, high on the Avenue, and overlooking the naked trees and the glittering white of the Park, she found that other toilettes had taken less time than hers: several of her friends complimented the occasion with a punctuality which she commended without envy.
The large drawing-room, which was to be the scene of operations, was a marvellous combination of every pale colour known to nature and art, and looked expectant of white-wigged dames, sparkling with satin and diamonds, tripping the mazes of the minuet with gentlemen as courtly as their dress was rich and colourous. But only a half-dozen extremely smart young women of the hoary Nineteenth Century sat in a group, talking as fast as seals on a rock; and the slim little hostess was compactly gowned in pearl-grey cloth, her sleek head dressed in the fashion of the moment.
She came forward, a lorgnette held close to her eyes. “How dear of you, Augusta, to be so prompt!” she said, kissing her lightly. “Dear me! I wish I could be as frightfully in earnest as the rest of you, but for the life of me I can’t help feeling that it’s all a jolly good lark--perhaps that’s the effect of my ex-sister-in-law, Patience Sparhawk, who says we are only playing at being alive. But we can’t all have seventeen different experiences before we are twenty-four, including a sojourn in Murders’ Row, and a frantic love affair with one’s own husband----”
“Tell me, Hal, what is a woman like who has been through all that?” interrupted Augusta, her ears pricking with girlish curiosity. “Is she eccentric? Does she look old--or something?”
“She’s not much like us,” said Mrs. Burr, briefly. “You’ll meet her in time; it’s odd you never happened to, even if you weren’t out. Of course she can’t go out for awhile yet; it would hardly be good taste, even if she wanted to.”
“How interestingly dreadful to have had such a thing in the family. But I should think she would be just the one to take life seriously.”
“Oh, she does; that’s the reason she doesn’t waste any time. Here is someone else. Who is it?--oh, Mary Gallatin.”
Augusta joined the group.
“Where is Mabel Creighton?” demanded one of the girls. “I thought she was coming with you.”
“Haven’t you heard?” Miss Forbes, with an air of elaborate indifference, drew her eyelids together as if to focus a half-dozen women that were entering. “The Duke of Bosworth arrives to-day, and she has stayed at home to receive him.”
“Augusta! What do you mean? _What_ Duke of Bosworth?”
“There is only one duke of the same name at a time, my dear. This is the Duke of Bosworth of Aire Castle--and I suppose a half-dozen others--of the West Riding, of the district of Craven, of the County of Yorkshire, England. He has five other titles, I believe; and enjoys the honour of the friendship of Fletcher Cuyler.”
“Mabel met him abroad, and got to know him quite well; and when he wrote her that he should arrive to-day, she thought it only hospitable to stay at home and receive him.”
“Are they engaged? Augusta, _do_ be an angel.”
“I am sure I have not the slightest idea whether they are engaged or not. Mabel always has a flirtation on with somebody.”
The novel opens with a breakfast-table debate between Augusta Forbes and her father, where the heiress declares her commitment to socialism and women's suffrage, having read Karl Marx and Henry George. Her father's dry retorts—"You darling sarcastic thing"—establish a tone of intellectual sparring that pervades the excerpts. Augusta's club of girls who "aspire to be something more than fashionable butterflies" signals a generational tension between reformist ideals and the social pressures of New York's elite.
Dialogue as Ideological Arena
The excerpts rely heavily on rapid, argumentative dialogue to advance conflicting positions on wealth, marriage, and national identity. In Chapter I, Augusta's father challenges her plans with pointed questions: "Suppose you fall in love and want to marry?" Her reply—"A woman's chief end is not matrimony"—is immediately undercut by her later admission that she wants to be in love "dreadfully." This contradiction between stated principle and personal desire recurs. In a later scene, Alexis Maitland urges Augusta to "dismiss the Duke of Bosworth" and marry an American, arguing that such a choice would raise the self-esteem of American men. Augusta counters with a pragmatic retreat: "Theories sometimes collide with facts." The dialogue thus becomes a stage for testing abstract ideals against social realities, with each character's voice tied to a distinct position—Augusta's evolving pragmatism, Alexis's idealism, Mrs. Burr's cynical realism.
The Weight of Inheritance and Will
Augusta's wealth is a constant undercurrent. Her father notes he is "good for twenty or thirty years yet," implying her control over the fortune is deferred. The catalog subject "Children of the rich" finds direct expression in Augusta's plan to use her inheritance for socialist redistribution, yet the excerpts show her father's will as a present obstacle. When Augusta later asks Mabel Creighton if marrying the Duke would be dishonourable, Mabel's reply—"I don't call that kind of thing honour"—suggests a code of conduct among the wealthy that transcends legal or political commitments. The novel's title, His Fortunate Grace, may refer to the Duke, but the excerpts focus on the women who negotiate their own fortunes—financial and emotional—within a system that grants them limited agency.
Setting and Social Geography
The excerpts are set in domestic interiors—the Forbes breakfast-room, Mabel Creighton's boudoir with its "rainbow pillows" and silver smelling-salts. These spaces are arenas for private debate that reflects public anxieties about class and national character. Augusta's father reads a newspaper; the women discuss petitions and marriage strategies. The catalog subject "United States — Social life and customs — 19th century" is evoked through details like the "French morning-toilette" and the exclusion of the nouveau riche from reform petitions. The characters move between New York and England—the Duke is a foreign element—but the excerpts remain firmly in American drawing-rooms, where the "air" of fashion and the weight of old money shape every conversation.
The Unfinished Argument
The excerpts break off before the Duke appears or Augusta's decision is fully explored. What remains is a series of unresolved debates: can a wealthy heiress be a socialist? Should she marry for love, reform, or status? The novel's short length (36,241 words) and 25 text sections suggest a compact narrative, but the excerpts offer no resolution. Readers should attend to how the dialogue—often witty and pointed—carries the burden of characterization and theme. The absence of descriptive passages in the excerpts may indicate a style that prioritizes conversation over setting or action.
Readers approaching His Fortunate Grace should watch for how the dialogue shifts between earnest reform and social maneuvering. The excerpts suggest a novel less concerned with plot than with the clash of ideas among a small set of characters. Pay attention to who gets the last word in each exchange—it often signals a temporary victory in the ongoing argument about what a woman of wealth and conscience should do.
That rainy afternoon, I kept returning to Augusta’s sharp retorts about titled husbands, the way she prized a man’s character over his crest. Later, restless, I picked up What Answer? — Reading Companion almost by chance, and found the same quiet wince—how we inherit our prejudices, and how slowly we let them go.
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