Between the Dark and the Daylight — Text and Context

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Marsh, Richard, 1857-1915 Project Gutenberg 2011 Not confirmed
Fiction; Short stories, English Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 75,396
Reading time 328 min
Text sections 10

For Between the Dark and the Daylight — Text and Context, the stored edition analysis reports 75,396 words, 5 hr 28 min estimated reading time, and 10 detected text sections.

The text analysis averages about 12.7 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 “Fiction,” connecting these edition facts with the source record’s subject description.

Richard Marsh's 1902 collection of short stories showcases his characteristic blend of suspense, dark humor, and sharp social observation. The tales range from courtroom dramas to financial schemes, with a focus on unexpected twists and the peculiarities of human behavior.
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Editorial Edition Score 4.8/5

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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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Read the Text

There were nine--and they were about the most miscellaneous-looking nine I ever saw. I had wondered what they meant by coming with my aunt into my sitting-room. Now, if anything, I wondered rather more. She proceeded to introduce them individually--not by any means by name only.

"This is John Eva. He is eighty-two and slightly deaf. Good gracious, man! don't stand there shuffling, with your back against the wall: sit down somewhere, do. This is Mrs. Penna, sixty-seven, and a little lame. I believe you're eating peppermints again. I told you, Mrs. Penna, that I can't stand the odour, and I can't. This is her grandson, Stephen Treen, aged nine. He cried in the train."

My aunt shook her finger at Stephen Treen, in an admonitory fashion, which bade fair, from the look of him, to cause an immediate renewal of his sorrows.

"This is Matthew Holman, a converted drunkard who has been the worst character in the parish. But we are hoping better things of him now." Matthew Holman grinned, as if he were not certain that the hope was mutual, "This is Jane, and this is Ellen, two maids of mine. They are good girls, in their way, but stupid. You will have to keep your eye on them, or they will lose themselves the first chance they get." I was not amazed, as I glanced in their direction, to perceive that Jane and Ellen blushed.

"This," went on my aunt, and into her voice there came a sort of awful dignity, "is Daniel Dyer, I believe that he kissed Ellen in a tunnel."

"Please ma'am," cried Ellen, and her manner bore the hall-mark of truth, "it wasn't me, that I'm sure."

"Then it was Jane--which does not alter the case in the least." In saying this, it seemed to me that, from Ellen's point of view, my aunt was illogical. "I am not certain that I ought to have brought him with us; but, since I have, we must make the best of it. I only hope that he will not kiss young women when he is in the streets with me."

I also hoped, in the privacy of my own breast, that he would not kiss young women while he was in the streets with me--at least, when it remained broad day.

"This," continued my aunt, leaving Daniel Dyer buried in the depths of confusion, and Jane on the verge of tears, "is Sammy Trevenna, the parish idiot. I brought him, trusting that the visit would tend to sharpen his wits, and at the same time, teach him the difference between right and wrong. You will have, also, to keep an eye upon Sammy. I regret to say that he is addicted to picking and stealing. Sammy, where is the address card which I gave you?"

Sammy--who looked his character, every inch of it!--was a lanky, shambling youth, apparently eighteen or nineteen years old. He fumbled in his pockets.

"I've lost it," he sniggered.

"I thought so. That is the third you have lost since we started. Here is another. I will pin it to your coat; then when you are lost, someone will be able to understand who you are. Last, but not least, Thomas, this is Mr. Poltifen. Although this is his first visit to London, he has read a great deal about the Great Metropolis. He has brought a few books with him, from which he proposes to read selections, at various points in our peregrinations, bearing upon the sights we are seeing, in order that instruction may be blended with our entertainment."

Mr. Poltifen was a short, thick-set individual, with that in his appearance which was suggestive of pugnacity, an iron-grey, scrubby beard, and a pair of spectacles--probably something superior in the cobbling line. He had about a dozen books fastened together in a leather strap, among them being--as, before the day was finished, I had good reason to be aware--a "History of London," in seven volumes.

"Mr. Poltifen," observed my aunt, waving her hand towards the gentleman referred to, "represents, in our party, the quality of intelligent interest."

Mr. Poltifen settled his glasses on his nose and glared at me as if he dared me to deny it. Nothing could have been further from my mind.

"Sammy," exclaimed my aunt, "sit still. How many times have I to request you not to shuffle?"

Sammy was rubbing his knees together in a fashion the like of which I had never seen before. When he was addressed, he drew the back of his hand across his mouth, and he sniggered. I felt that he was the sort of youth anyone would have been glad to show round town.

My aunt took a sheet of paper from her hand-bag.

Richard Marsh's Between the Dark and the Daylight (1902) opens with a table of contents that promises a varied assortment of tales: from the comic misadventures of "My Aunt's Excursion" to the financial scheming of "La Haute Finance." The collection's title hints at the liminal spaces Marsh explores—moments when ordinary life tips into the extraordinary. In the excerpt from "La Haute Finance," the dialogue between Rodney Railton and Alexander Macmathers crackles with nervous energy: "I believe it could be done!" Railton exclaims, setting the stage for a plot that involves blood and high stakes. Marsh's prose is brisk and economical, favoring action over introspection.

Diction and Dialogue as Engines of Plot

Marsh's dialogue does not merely convey information; it propels the narrative forward with a sense of urgency. In "La Haute Finance," Railton's clipped sentences—"I'll write to Mac"—and his insistence on secrecy create immediate tension. The exchange between the two men is laced with understatement: Macmathers responds to Railton's hints of blood with a dry "Sounds like a mystery-of-blood-to-thee-I'll-now-unfold sort of thing." This verbal sparring reveals character while advancing the plot. Marsh avoids lengthy exposition, instead letting his characters' words hint at larger schemes. The result is a style that feels modern in its efficiency, trusting the reader to infer the stakes from the rhythm of the conversation.

Characterization Through Physical Detail

Marsh sketches his characters with a few precise physical details that suggest their inner lives. Macmathers is described as "rather tall and weedy, with a heavy, drooping moustache, like his hair, raven black"—a description that immediately conveys a languid, perhaps deceptive exterior. His wife, by contrast, "would persist in looking on existence as a gigantic lark," a trait that hints at both her cleverness and her potential unreliability. These physical and behavioral cues are not merely decorative; they serve as shorthand for the roles these characters will play in the story's machinations. Marsh's economy of description allows him to populate his tales quickly without sacrificing depth.

The Structure of Suspense: Chapter Breaks and Cliffhangers

The table of contents reveals a deliberate structuring of suspense. Stories like "The Irregularity of the Juryman" are divided into chapters with titles that escalate tension: "The Juryman is Startled," "Mrs. Tranmer is Startled," and so on. This pattern of repeated, escalating shocks creates a rhythm that keeps the reader off-balance. In "La Haute Finance," the chapter break after Railton's cryptic mention of blood leaves the reader hanging, a technique Marsh uses repeatedly to maintain momentum. The chapter titles themselves function as mini-cliffhangers, promising disruption and surprise. This structural choice reflects Marsh's background in popular fiction, where serialization demanded hooks that would compel readers to turn the page.

Recurring Motifs: The Unexpected and the Ordinary

Throughout the excerpts, Marsh repeatedly juxtaposes the mundane with the startling. In "La Haute Finance," the plot is hatched over dinner, a setting of bourgeois normalcy that contrasts with the violent scheme being discussed. The phrase "there'll be plenty of blood" intrudes into a scene of polite dining, creating a dissonance that Marsh exploits for effect. Similarly, the story "The Haunted Chair" (listed in the contents) suggests a supernatural intrusion into everyday life. This tension between the ordinary and the extraordinary is a hallmark of Marsh's fiction, and it is established early in the collection through such juxtapositions. The reader is never allowed to settle into comfort; the dark and the daylight are always in flux.

Readers approaching Between the Dark and the Daylight should attend to the ways Marsh uses dialogue and description to create a sense of impending crisis. His characters often speak in half-revelations, and his narrators withhold just enough to keep the reader guessing. The collection rewards attention to the small details—a gesture, a turn of phrase—that signal larger deceptions. Marsh's world is one where appearances are never trustworthy, and the stories invite a skeptical, alert reading.

The rain kept time against the window while I finished Marsh’s courtroom tale, that uneasy chuckle lingering. The twist wasn’t just clever—it felt uncomfortably true about how we perform for each other. Later, drying my hair, I wandered into The White Squaw — Key Ideas to Explore, and the same sharp-edged observation of human masks surfaced there too, quieter but just as knowing.

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