Monica: A Novel, Volume 1 (of 3) — Story, Setting & Ideas
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a rare kind, that haunted the memory of those who saw her, as a strain of music sometimes haunts the ear. Her face was always pale and grave, and at first sight cold even to hardness, yet endued with an underlying depth and sweetness that often eluded observation, though it never failed to make itself felt. It was a lovely face—like that of a pictured saint for purity of outline, of a Greek statue for perfection of feature—almost as calm and colourless as marble itself. Yet, behind the statuesque severity lay that strange, sad, wistful sweetness which could not quite be hidden away, and gave to the beholder the idea that some great trouble had overshadowed the girl’s life. Let us go with her, and see what that trouble was.
When the door closed upon Raymond Pendrill, she stood for a moment or two silent and motionless, then turned and mounted the shallow stairs once more, and, passing down a long corridor, opened the door of a fire-lit room, and entered softly.
The room had two tenants: one, a great mastiff dog, who acknowledged Monica’s entrance by gently flopping his tail against the floor; the other, a lad of seventeen, who lay upon an invalid couch, his face very white and his brows drawn with pain.
As Monica looked at him her face quivered, and a look of unspeakable tenderness swept over it, transfiguring it for the moment, and showing wonderful possibilities in every line and curve. She bent over him, laying one cool, strong hand upon his hot head.
“Yes, getting better. That stuff Raymond gave me is taking the pain away. Stir up the fire, and sit where I can see you. I like that best.”
Arthur Pendrill, cousin to Raymond Pendrill, the young doctor who had just left the castle, was the only child by a first marriage of Lord Trevlyn’s second wife. Hoping for an heir, the earl had married again when Monica was seven years old, but his hopes had not been realised, and the second Lady Trevlyn had died only a few years after her union with him.
Arthur, who had been only a mite of two years old when he first came to Castle Trevlyn, knew nothing, of course, of any other home; and he and Monica had grown up like brother and sister, and were tenderly attached, perhaps all the more so from radical differences of character and temperament. Their childhood had been uncloudedly happy; they had enjoyed a glorious liberty in their wild Cornish home that could hardly have been accorded to them anywhere else. Monica’s had always been the leading spirit; physically as well as mentally, she had always been the stronger; but he adored her, and emulated her with the zeal and enthusiasm of youth. He followed her wherever she led like a veritable shadow, until that fatal day, five years ago, which had laid him upon a bed of sickness, and had turned Monica in a few hours’ time from a child to a woman.
Upon that day there had been a terrible end to the mad-cap exploits in cliff-climbing in which the girl had always delighted, and Arthur had been carried back to the castle, as all believed, to die.
He did not die, however, but recovered to a suffering, helpless, invalid life; and Monica, who held herself sternly responsible for all, and who had nursed him with a devotion that no mother could have surpassed, now vowed deep down in her heart that her own life should henceforth be devoted to him, that for him she would in future live, and that whatever she could do to lighten his load of pain and make his future happier should be done, at whatever cost to herself, as the one atonement possible for the rashness which had cost him so dear.
Five years ago that vow had been recorded, and Monica, from a gay, high-spirited girl, had grown into a pale, silent, thoughtful woman; but she had never wearied of her self-imposed charge—never faltered in her resolution. Arthur was her special, sacred charge. Anything that would conduce to his welfare and happiness was to be accomplished at whatever cost. So far, to tend and care for him had been her aim and object of life, and her deep love had made the office sweet. It had never occurred to her that any contingency could possibly arise by which separation from him should prove the truest test of her devotion.
The first volume of Evelyn Everett-Green's three-part novel opens not with a marriage proposal but with a doctor's departure from Castle Trevlyn, a detail that immediately establishes the work's attention to the practical rhythms of an isolated household. The castle is described as a 'grim and desolate place' surrounded by tangled park, dense pine woods, and a rocky coast—a setting that the narrative uses to frame Monica's character as one who loves her 'lonely, desolate home with a curious, passionate intensity.' This opening suggests that the novel's interest lies less in dramatic incident than in the interplay between a constrained environment and its inhabitants' inner lives.
Setting as Character
The excerpts devote considerable space to the physical description of Castle Trevlyn and its surroundings, treating the estate almost as a character in its own right. The hall is filled with 'gathering shadows,' the chambers contain 'carved black oak, faded tapestry, rusty armour, and antique relics' that tell 'their own tale of past magnificence and of present poverty and decay.' This decay is not merely atmospheric; it is tied directly to the Trevlyns' fallen fortunes, with the current earl having 'failed to do anything towards restoring the decaying fortunes of his house.' The isolation is emphasized repeatedly: the castle is 'cut off' from communication with the outside world, and Monica has never desired a change. This detailed rendering of place serves as a concrete foundation for the social and emotional constraints that drive the plot.
The Marriage Plot Through Dialogue
Rather than presenting a straightforward love story, the excerpts show marriage being discussed as a practical arrangement. In Chapter Seven, Lord Trevlyn speaks to his kinsman Randolph 'with frankness and unreserve' about his hopes for Monica's future, admitting that his invitation to Randolph was made 'with hopes I need not farther specify.' The language is that of negotiation rather than romance: the earl speaks of 'anxieties as to the future of his dearly-loved and only child' and of wanting to see her 'happily settled in life under the protecting care of one who will truly love and cherish her.' Lady Diana, meanwhile, describes Monica as a 'haughty minx' who gives Randolph 'not the smallest encouragement.' These passages suggest that the novel's treatment of marriage will foreground the tension between parental schemes and a daughter's independent will.
Monica's Interior Landscape
The excerpts offer glimpses of Monica's inner experience through figurative language that contrasts with the factual tone of the dialogue. When she senses a change in her feelings, the narrative describes 'a strange under-current of startled joy beneath the troubled waters of doubt, despondency, and perplexity.' This is extended into a simile of a traveller in mountain mists who sees 'the bright sunny smiling valley beneath which he will shortly reach.' The metaphor of a 'land of promise' spreading out before her, while she still wanders in an 'arid waste,' suggests a spiritual or emotional journey that the catalog subjects of love and forgiveness may address. However, the excerpts do not reveal whether this promise is fulfilled in this volume, leaving the reader to observe Monica's gradual self-awareness without foreknowledge of the outcome.
Readers approaching this first volume should attend to how Everett-Green uses the castle's physical decay to mirror social and emotional states, and how the marriage plot is advanced through oblique conversations rather than direct declarations. The excerpts provide no evidence of the forgiveness mentioned in the catalog subjects, nor do they resolve the central romantic tension. The work rewards attention to its careful construction of setting and its restrained depiction of a young woman's dawning self-knowledge within a rigid social framework.
I recall how Monica’s guarded heart, hemmed by Cornwall’s grey sea, waited for someone to see past her father’s scheming. That same patient ache lives in Object: matrimony — Story, Setting & Ideas, where a quieter sort of longing stirs beneath drawing-room politeness. They’d sit well together on a shelf, those two—each whispering that love arrives sideways, not by decree.
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