The Laughing Girl — Inside the Classic

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In Category - Romantic Drama
Chambers, Robert W. (Robert William), 1865-1933, Hutt, Henry, 1875-1950 [Illustrator] Project Gutenberg 2016 Not confirmed
Love stories; Switzerland -- Fiction; Hotels -- Fiction; World War, 1914-1918 -- Switzerland -- Fiction Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 75,659
Reading time 329 min
Text sections 13

This digital edition of The Laughing Girl — Inside the Classic is described by source-level measurements including 75,659 words, 5 hr 29 min estimated reading time, and 13 detected text sections.

The text analysis averages about 12.8 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.

In a Swiss hotel during WWI, a narrator nicknamed Michael observes a cast of German agents and aristocrats. The novel's voice shifts from ironic detachment to tense intrigue, marked by vivid descriptions of landscape and a foreword that frames laughter as a weapon against war.
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Editorial Edition Score 4.7/5

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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.

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Inheritance II. Al Fresco III. In the Cellar IV. Modus Vivendi V. An Odd Song VI. Master and Maid VII. Conservation and Conversation VIII. The Knees of the Gods IX. Rex, Regis X. Clelia XI. A Pyjama Party XII. Royalty XIII. In the Rain XIV. The Mysterious Mr. Smith XV. A Traveling Circus XVI. The Countess XVII. More Mystery XVIII. The Gangsters XIX. Confidences XX. A Local Storm XXI. Sus Scrofa XXII. Particeps Criminis XXIII. Thusis XXIV. Raoul XXV. The Duchess of Naxos

There was a red-headed slattern sweeping the veranda—nobody else visible about the house. All the shutters of the stone and timber chalet were closed; cow-barn, stable, springhouse and bottling house appeared to be deserted. Weeds smothered the garden where a fountain played above a brimming basin of gray stone; cat-grass grew rank on the oval lawn around the white-washed flag-pole from which no banner flapped. An intense and heated silence possessed the place. Tall mountains circled it, cloud-high, enormous, gathered around the little valley as though met in solemn council there under the vast pavilion of sky.

From the zenith of the azure-tinted tent hung that Olympian lantern called the sun, flooding every crested snow-peak with a nimbus of pallid fire.

In these terms of belles-lettres I called Smith’s attention to the majesty of the scene.

"Very impressive," remarked Smith, lighting a cigarette and getting out of the Flivver;—"I trust that our luncheon may impress us as favorably." And he looked across the weedy drive at the red-headed slattern who was now grooming the veranda with a slopping mop.

"Her ankles might be far less ornamental," he observed. I did not look. Ankles had long ceased to mean anything to me.

After another moment’s hesitation I handed Smith his suit-case, picked up my own, and descended from the Flivver. The Swiss officer at the wheel, Captain Schey, and the Swiss officer of Gendarmerie beside him, Major Schoot, remained heavily uninterested in the proceedings. To think of nothing is bovine; to think of nothing at all, and do that thinking in German, is porcine. I inspected their stolid features: no glimmer of human intelligence illuminated them. Their complexions reminded me of that moist pink hue which characterizes a freshly cut boiled ham.

Smith leisurely examined the buildings and their surroundings, including the red-headed girl, and I saw him shrug his shoulders. He was right; it was a silly situation and a ridiculous property for a New Yorker to inherit. And the longer I surveyed my new property the more worried I became.

I said in English to Major Schoot, one of the ample, pig-pink gentlemen in eye-glasses and the uniform of the Swiss Gendarmerie: "So this is Schwindlewald, is it?"

He blinked his pale little eyes without interest at the low chalet and out-buildings; then his vague, weak gaze flickered up at the terrific mountains around us.

"Yes," he replied, "this is now your property, Mr. O’Ryan."

"Well, I don’t want it," I said irritably. "I’ve told you that several times."

"Quite right," remarked Smith; "what is Mr. O’Ryan going to do with a Swiss hotel, a cow-barn, a bottling factory, one red-headed girl, and several large mountains? I ask you that, Major?"

I was growing madder and madder; and Smith’s flippancy offended me.

"I’m an interior decorator," I said to Major Schoot. "I’ve told you that a dozen times, too. I don’t wish to conduct a hotel in Switzerland or Greenland or Coney Island or any other land! I do not desire either to possess kine or to deprive them of their milk. Moreover, I do not wish to bottle spring water. Why then am I not permitted to sell this bunch of Swiss scenery and go home? What about my perfectly harmless business?"

Major Schoot rolled his solemn fish-blue eyes: "The laws of the canton and of the Federal Government," he began in his weak tenor voice, "require that any alien inheriting property in the Swiss Republic, shall reside upon that property and administer it for the period of not less than one year before offering the said property for sale or rent——"

He already had told me that a dozen times; and a dozen times I had resisted, insisting that there must be some way to circumvent such a ridiculous Swiss law. Of what use are laws unless one can circumvent them, as we do?

I now gazed at him with increasing animosity. In his uniform of Major of Swiss Gendarmes he appeared the personification of everything officially and Teutonically obtuse.

The narrator's voice in The Laughing Girl announces itself with a studied nonchalance that belies the novel's wartime setting. The opening chapter describes a deserted chalet with 'an intense and heated silence,' where the narrator's companion Smith remarks dryly on a maid's ankles. This blend of scenic grandeur and wry observation sets a tone that will shift as the story progresses.

Robert W. Chambers, writing in 1918, uses the Swiss Alps as a backdrop for a cast of German agents and aristocrats. The foreword's verses—'Let our laughter fight Thy fight'—frame humor as a defiant response to war, but the narrative voice often undercuts this with a more sardonic edge.

A Voice That Wavers Between Irony and Alarm

The narrator, called Michael, speaks in a colloquial, self-deprecating register that sometimes feels like a performance. He describes taking 'to the woods with rod and book' to escape a 'bunch of assorted boches' who have invaded his hotel. The phrasing is deliberately casual, but the underlying tension is palpable. Smith's voice, by contrast, is 'pleasant, even' as he recites a rogue's gallery of German spies, each name accompanied by a damning biography. The contrast between Michael's flippancy and Smith's cool expertise creates a narrative friction that hints at dangers the narrator is only partly aware of.

When Michael retreats to the woods, the prose shifts into a more lyrical mode, describing 'the vast pavilion of sky' and 'Olympian lantern called the sun.' These passages feel like a deliberate escape from the grim catalog of war, but the rain that soaks his trousers and the memory of Thusis—a character from earlier in the novel—suggest that no retreat is complete.

The Pace of Observation and the Weight of Detail

Chambers slows the narrative to dwell on physical details that carry symbolic weight. The chalet's 'weeds smothered the garden,' the 'cat-grass grew rank,' and the flag-pole flies no banner—these images of neglect mirror a world at war. The narrator's eye lingers on the 'red-headed slattern' mopping the veranda, a figure of mundane labor that contrasts with the grand mountains 'gathered around the little valley as though met in solemn council.'

This pacing changes abruptly when Smith reads the guest register. The list of names—General Count von Dungheim, Baron von Bummelzug, Princess Pudelstoff—is delivered in a rapid, almost breathless sequence, each entry a miniature dossier. The rhythm accelerates, mimicking the accumulation of threat. The narrator's response—'It's a pretty kettle of fish'—is understated, but the reader feels the weight of the information.

The Foreword as a Key to the Novel's Mood

The four-stanza foreword, signed 'R. W. C.,' is addressed to the author's son at Plattsburgh Barracks. It mixes nursery-rhyme meter with bitter satire: 'Here's a pretty tale to tell / All about the beastly boche.' The tone is playful but the content is grim—'How all valiant lovers love, / How all villains go to hell.' The final stanza asks, 'What is all we have then worth / In Thy sight, Lord, in Thy sight?' and offers laughter as a form of service: 'Let our laughter fight Thy fight.'

This preface primes the reader for a novel that will oscillate between comedy and menace. The narrator's ironic asides—'Her ankles might be far less ornamental'—echo the foreword's insistence on laughter as a coping mechanism. But the foreword also warns that 'He who grins in clown's disguise / Often hides an aching heart,' suggesting that the novel's humor may be a mask for grief. The excerpts bear this out: the narrator's retreat to the woods is both a comic escape and a lonely vigil.

Readers should attend to the shifts in register—from the narrator's breezy asides to the sudden, dense catalog of spies. The foreword is not mere decoration; it establishes a thematic tension between laughter and sorrow that the novel explores. The incomplete excerpts leave the fate of Michael, Smith, and the mysterious Thusis unclear, but the narrative voice itself—its evasions, its moments of lyricism, its dry humor—offers a rich field for interpretation.

Reading the narrator’s detached laughter in the Swiss hotel, I kept thinking of how that same measured distance appears in The Quest: A Romance — Inside the Classic—a quieter kind of watching, where the landscape holds more truth than the people moving through it. Both left me with a strange, lingering stillness, like remembering a snowfall long after it melted.

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