Rose à Charlitte — Background and Themes

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In Category - Romantic Drama
Saunders, Marshall, 1861-1947, Young, H. de M. [Illustrator] Project Gutenberg 2012 Not confirmed
Love stories; Acadians -- Fiction; Americans -- Nova Scotia -- Fiction; Hotelkeepers -- Fiction; Nova Scotia -- Fiction Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 114,983
Reading time 500 min
Text sections 13

Rose à Charlitte — Background and Themes can be approached with a clearer sense of reading commitment from its source measurements: 114,983 words, 8 hr 20 min estimated reading time, and 13 detected text sections.

The text analysis averages about 15.6 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.

Marshall Saunders’s 1898 novel follows American Vesper Nimmo to Nova Scotia’s Acadian coast, where the innkeeper Rose à Charlitte and her community’s speech, customs, and tangled past shape his stay. The excerpts reveal a story built on oral tales, household industry, and the lingering shadow of a man named Charlitte.
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Editorial Edition Score 4.9/5

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"Hast committed a crime, and think'st thou to escape? Alas, my father!"--_Old Play._

"Evil deeds do not die," and the handsome young man stretched out in an easy chair by the fire raised his curly black head and gazed into the farthest corner of the comfortably furnished room as if challenging a denial of this statement.

No one contradicted him, for he was alone, and with a slightly satirical smile he went on. "One fellow sows the seeds, and another has to reap them--no, you don't reap seeds, you reap what springs up. Deadly plants, we will say, nightshades and that sort of thing; and the surprised and inoffensive descendants of sinful sires have to drop their ordinary occupations and seize reaping-hooks to clean out these things that shoot up in their paths. Here am I, for example, a comparatively harmless product of the nineteenth century, confronted with a upas-tree planted by my great-grandfather of the eighteenth,--just one hundred and forty years ago. It was certainly very heedless in the old boy," and he smiled again and stared indolently at the leaping flames in the grate.

The fire was of wood,--sections of young trees cut small and laid crosswise,--and from their slender stems escaping gases choked and sputtered angrily.

"I am burning miniature trees," drawled the young man; "by the way, they seem to be assisting in my soliloquy. Perhaps they know this little secret," and with sudden animation he put out his hand and rang the bell beside him.

A colored boy appeared. "Henry," said the young man, "where did you get this wood?"

"I got it out of a schooner, sir, down on one of the wharves."

"What port did the schooner hail from?"

"From Novy Scoshy, sir."

"Were the crew Acadiens?"

"Were there any French sailors on her?"

"Yes, sir, I guess so. I heard 'em jabbering some queer kind of talk."

"Listen to the wood in that fire,--what does it say to you?"

Henry grinned broadly. "It sounds like as if it was laughing at me, sir."

"You think so? That will do."

The boy closed the door softly and went away, and the young man murmured, "Just what I thought. They do know. Now, Acadien treelets, gasping your last to throw a gleam of brightness into my lazy life, tell me, is anything worth while? If there had been a curse laid on your ancestors in the forest, would you devote your last five minutes to lifting it?"

The angry gasping and sobbing in the fire had died away. Two of the topmost billets of wood rolled gently over and emitted a soft muttering.

"You would, eh?" said the young man, with a sweet, subtle smile. "You would spend your last breath for the good of your race. You have left some saplings behind you in the forest. You hope that they will be happy, and should I, a human being, be less disinterested than you?"

"Vesper," said a sudden voice, from the doorway, "are you talking to yourself?"

The young man deliberately turned his head. The better to observe the action of the sticks of wood, and to catch their last dying murmurs, he had leaned forward, and sat with his hands on his knees. Now he got up, drew a chair to the fire for his mother, then sank back into his own.

"I do not like to hear you talking to yourself," she went on, in a querulous, birdlike voice, "it seems like the habit of an old man or a crazy person."

"One likes sometimes to have a little confidential conversation, my mother."

"You always were secretive and unlike other people," she said, in acute maternal satisfaction and appreciation. "Of all the boys on the hill there was none as clever as you in keeping his own counsel."

"So you think, but remember that I happened to be your son," he said, protestingly.

"Others have remarked it. Even your teachers said they could never make you out," and her caressing glance swept tenderly over his dark curly head, his pallid face, and slender figure.

His satirical yet affectionate eyes met hers, then he looked at the fire. "Mother, it is getting hot in Boston."

"Hot, Vesper?" and she stretched out one little white hand towards the fireplace.

"This is an exceptional day. The wind is easterly and raw, and it is raining. Remember what perfect weather we have had. It is the first of June; it ought to be getting warm."

"I do not wish to leave Boston until the last of the month," said the little lady, decidedly, "unless,--unless," and she wistfully surveyed him, "it is better for your health to go away."

The novel opens not with its title character but with Vesper L. Nimmo, a young man alone by a fire, quoting an old play and musing on the persistence of evil deeds. This solitary, slightly sardonic figure will travel from Boston to Nova Scotia, where the Acadian settlement of Bleury and the inn called Sleeping Water become the setting for a story that unfolds largely through conversation and anecdote. Saunders devotes the first chapter to Vesper’s interior reflections before any action begins, signaling that the narrative will value voice and memory over swift plot.

A Thrifty Custom and a Ramrod

The excerpts show that Saunders embeds Acadian domestic life in the texture of her dialogue. In one scene, a child named Mirabelle Marie tells Vesper about Duckfoot Bill, who shot seven geese with a single ramrod left in his gun—a tall tale that prompts laughter and then a sharp rebuke from Bidiane. The same passage describes the practice of “pickings”: old cloth cut into threads, washed, dried, carded, spun, and rewoven into bedcovers and stockings. This detail is not merely decorative; it is offered as a “thrifty custom of the Acadiens,” and the narrative pauses to explain it. Such moments ground the fiction in specific material culture, and a reader attentive to these passages will notice how often the characters’ identities are tied to what they make, mend, or tell.

The Cook, the Mouse, and the Chart

Saunders uses embedded stories to reveal character and community history. Claude, a local man, recounts a shipwreck off Arichat: the cook, standing in a ruined galley with a stick, refuses to flee because he wants to kill a mouse. The same man later tells of a captain—Crispin, brother of Charlitte—who mistook oilcloth for a chart, could not write, and once steered a deserted schooner to Boston to claim salvage. These tales are told in a distinctive Acadian dialect (“Yessir,” “wariwarie,” “gut”), and they accumulate around the absent figure of Charlitte. Vesper’s reaction—calmly lighting a cigarette when Charlitte’s name is mentioned—suggests that the name carries weight the reader has not yet fully understood. The excerpts do not reveal what Charlitte did, only that his brother’s story is told with unease.

Bidiane’s Fiery Glances

Among the most consistent details in the excerpts is the tension between Bidiane and her aunt Mirabelle Marie. Bidiane is described as “smart—as smart as a steel trap,” able to shear sheep, spin wool, and knit stockings. Yet when Mirabelle Marie boasts of her niece’s skills, Bidiane responds with a “fiery and resentful glance” that silences the older woman. Later, when Mirabelle Marie impulsively tells the captain’s name, she does so “resolutely” turning her back on Bidiane’s “terrific frown.” These small, repeated gestures—whispered anger, pushed baskets, abrupt subject changes—create a dynamic of control and rebellion that operates beneath the surface of hospitality. A first-time reader may not yet know the cause, but the pattern is unmistakable.

The Weight of a Name

The title Rose à Charlitte promises a story centered on a woman, yet in the excerpts she appears only in the frontispiece caption and the table of contents. The opening chapters belong to Vesper, and the later excerpts focus on Bidiane, Mirabelle Marie, and Claude. Charlitte himself is absent but repeatedly invoked: as the brother of the clever captain Crispin, as a name that makes Vesper pause, and as the man whose return is signaled in the chapter “Charlitte Comes Back.” The novel’s structure—Book I titled “Rose à Charlitte,” Book II titled “Bidiane”—suggests a shift in perspective. Readers should note that the story’s center of gravity may move, and that the title character may be approached indirectly, through the words and silences of those around her.

Saunders’s novel rewards attention to dialect, domestic detail, and the gaps between what characters say aloud and what they communicate through glances. The excerpts offer no resolution, but they establish a world where a ramrod can kill seven geese, a cook can ignore a shipwreck to hunt a mouse, and a woman’s name can stand for a story not yet told. Read for the texture of Acadian speech and the quiet power of what is left unsaid.

I think often of Rose à Charlitte’s quiet rooms, where stories hung in the air like drying herbs. That lingering shadow of Charlitte himself—how it shaped every spoken word—reminded me of another house of secrets, the gentle restraint in Miss Crespigny — Reading Notes. Both books taught me that memory is a guest who never leaves, and we simply learn to set another place at the table.

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