Monica: A Novel, Volume 3 (of 3) — Background and Themes

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In Category - Marriage Society
Everett-Green, Evelyn, 1856-1932 Project Gutenberg 2017 Not confirmed
Love stories; Marriage -- Fiction; Forgiveness -- Fiction Readers of public-domain and historical texts
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Words 29,174
Reading time 127 min
Text sections 10

The catalog record for Monica: A Novel, Volume 3 (of 3) — Background and Themes provides practical reading context through 29,174 words, 2 hr 7 min estimated reading time, and 10 detected text sections.

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Project Gutenberg metadata also associates the work with “Love stories,” connecting these edition facts with the source record’s subject description.

In this third volume of Evelyn Everett-Green's novel, Monica observes Beatrice's unhappiness at Trevlyn, leading to confessions about Tom Pendrill. The narrative explores forgiveness and marriage through restrained dialogue and emotional restraint.
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t, for since the day following her arrival Beatrice had showed herself unusually reserved. She had been _distraite_, absorbed, fitful in her moods, but never once expansive; therefore, this unexpected impulse towards confidence was the more surprising.

“Beatrice,” she said gently, “I did not mean to distress you. You know how very, very welcome you are to stay with us. But you are unhappy; you are far more unhappy than when you came.”

Beatrice shook her head vehemently at this point, but Monica continued in the same quiet way. “You are unhappy, you are restless and miserable. Beatrice, answer me frankly, would you be happy if Tom Pendrill were not here? He has already outstayed his original time, and we could quite easily get rid of him if his presence is a trouble to you. We never stand on ceremony with Tom, and Randolph could manage it in a moment.”

Beatrice lifted a pale, startled face.

“Tom Pendrill?” she repeated, almost sharply. “What has he got to do with it? What makes you bring in his name? What do you know about—about——?” She stopped suddenly.

“I know nothing except what I see for myself—nothing but what your face and his tell me. It is easy to see that you have known each other before, and under rather exceptional circumstances, perhaps. Do you think it escapes me, that feverish gaiety of yours whenever he is near—gaiety that is expended in laughing, chatting, flirting, perhaps, with the other guests, but is never by any chance directed to him? Do you think I do not notice how quickly that affectation of high spirits evaporates when he is gone; how many fits of sad musing follow in its wake? How is it you two never talk to one another? never exchange anything beyond the most frigid commonplaces? It is not your way to be so distant and so cool, Beatrice. There must be a reason. Tell me truly, would you not be happier if Tom Pendrill were to go back to St. Maws?”

But Beatrice shook her head again, and heaved a long, shuddering sigh.

“Oh, no, no!” she said. “Don’t send him away. Nothing really matters now; nothing can do either good or harm. Let him stay. I think his heart is made of ice. He does not care; why should I? It is nothing but my folly and weakness, only it brings it all back so bitterly—all my pride, and self-will, and stubbornness. Well, I have suffered for it now.”

It was plain that a confession was hovering on Beatrice’s lips; that she was anxious at last to unburden herself of her secret. Monica helped her by asking a direct question.

“Were you engaged to him once?”

“No—no! not quite. I had not got quite so far as that. I might have been. He asked me to be his wife, and I—I——” She paused, and then went on more coherently.

“I will tell you all about it. It was years ago, when I was barely eighteen—a gay, giddy girl, just ‘out,’ full of fun, very wild and saucy, and thoroughly spoiled by persistent petting and indulgence. I was the only daughter of the house, and believed that Lady Beatrice Wentworth was a being of vast importance. Well, I suppose people spoiled us because we were orphans. We were all more or less spoiled, and I think it was the ruin of my eldest brother. He was at Oxford at the time I am speaking of; and I was taken to Commemoration by some gay friends of ours, who had brothers and sons at Oxford.

“It was there I met Tom Pendrill. He was the ‘chum’ of one of the undergraduate sons of my chaperon, and he was a great man just then. He had distinguished himself tremendously in the schools, I know—had taken a double-first, or something, and other things beside. He was quite a lion in his own set, and I heard an immense deal in his praise, and was tremendously impressed, quite convinced that there was not such another man in the world. He was almost always in our party, and he took a great deal of notice of me. He gave us breakfast in his rooms, and I sat next him, and helped to do the honours of the table. You can’t think how proud I was at being singled out by him, how delighted I was to walk by his side, listening to his words of wisdom, how elevated I often felt, how taken out of myself into quite a new world of thought and feeling.”

The volume opens with Monica gently confronting Beatrice, who sits in a boudoir at dusk with unshed tears. Monica's observation—'I begin to think you are getting tired of Trevlyn already'—immediately establishes her perceptive, quiet authority. Beatrice's vehement denial and subsequent confession about Tom Pendrill reveal a pattern of emotional restraint: the characters often speak around their feelings, using indirect questions and physical gestures (a hand laid on a knee, a head buried in hands) to convey distress. The catalog subjects—marriage, forgiveness, love—are present, but the excerpts show these themes emerging through specific, domestic scenes rather than overt moralizing.

Monica's Quiet Authority

Monica's speech is consistently measured and gentle, yet she drives the plot forward. When Beatrice bursts out, 'Oh, don't send me away, Monica!', Monica responds not with alarm but with a calm insistence: 'You are unhappy, you are restless and miserable.' She does not retreat from the truth. Later, when Beatrice weeps over Randolph's memory, Monica offers comfort by linking his death to Beatrice's happiness: 'He would be glad... He loved you dearly.' This ability to reframe grief into hope is a recurring structural device. Monica's authority is not asserted through commands but through persistent, tender questioning. She uses phrases like 'answer me frankly' and 'I did not mean to distress you' to maintain control while appearing solicitous. The narrative voice aligns with her perspective, describing her 'grave gentleness' and 'mute caress,' which reinforces her role as the emotional center of the household.

Beatrice's Confession and Its Limits

Beatrice's confession to Monica is the volume's emotional peak, yet it remains circumscribed. She admits misery but cannot articulate its cause directly; instead, she says 'I think I shall die if you do' and later whispers 'Randolph!' as if the name explains everything. The narrator notes that 'the desolation of Monica's life had never come home to her' until this moment, suggesting that Beatrice's own grief is refracted through Monica's loss. The confession is followed by a retreat: Beatrice 'slipped away to relieve her over-burdened heart by a burst of tears.' This pattern of revelation and withdrawal characterizes the novel's treatment of emotion. The catalog subject 'Forgiveness' appears obliquely: Monica forgives Beatrice's earlier reserve, and Beatrice seeks forgiveness for her unhappiness, but the word itself is never spoken in the excerpts. Instead, the narrative shows forgiveness through actions—Monica's continued kindness, her offer to let Beatrice marry from Trevlyn.

Tom Pendrill's Practical Plans

Tom Pendrill's return from St. Maws introduces a shift in tone. He announces his marriage plans with blunt humor: 'I think I've waited long enough—pretty well as long as Jacob.' His dialogue is peppered with interruptions and teasing—'Did for Leah—and didn't like her in the end—don't make that your precedent'—which contrasts sharply with Monica's gravity. Tom's proposal is less a romantic declaration than a logistical arrangement: he has already secured half a house, a share of a medical practice, and his aunt's approval. Beatrice responds with playful banter ('Just listen to the tyrant'), and the two engage in a verbal sparring match that references a past quarrel at Oxford. This scene provides the volume's only comic relief, but it also underscores the novel's interest in marriage as a practical institution. Tom's efficiency—'I hate flummery'—suggests that the narrative values straightforwardness over sentiment, even as it dwells on emotional suffering.

Readers should attend to the way Everett-Green uses setting and gesture to convey interior states. The boudoir at dusk, the unshed tears, the kneeling posture—these details carry more weight than direct statements of feeling. The volume's title, 'Monica,' signals her centrality, yet the excerpts show her as a listener and comforter rather than an actor. Her own grief over Randolph is mentioned but not dramatized; it exists as a quiet undercurrent. This restraint is the novel's defining technique, and it rewards careful attention to what is left unsaid.

That rainy afternoon, I kept returning to the quiet ache in Monica’s forgiveness of Beatrice, how restraint itself spoke so loudly. It made me wonder what had come before, so I set the third volume aside and picked up the second, Monica: A Novel, Volume 2 (of 3) — Story, Setting & Ideas, and sat with the tea going cold, tracing the same muted grief backwards.

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