The Squire's Daughter — Text and Context
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Before opening The Squire's Daughter — Text and Context, the edition data offers a quick orientation: 116,178 words, 8 hr 26 min estimated reading time, and 11 detected text sections.
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Read the Text
There was no denying that she made a pretty picture. With one foot on the top rung of the stile he was almost on a level with her, and he was near enough to see her bosom heave and the colour come and go upon her rounded cheeks.
His heart began to beat uncomfortably fast. He feared that he had played a churlish part. She looked so regal, and yet so sweet, that it seemed almost as if Nature had given her the right to command. And who was he that he should resent her imperious manner and refuse to do her bidding?
He had gone too far, however, to retreat. Moreover, his dignity had been touched. She had flung her command at him as though he were a serf. Had she asked him to open the gate, he would have done so gladly. It was the imperious tone that he resented.
"I did not expect such rudeness and incivility here of all places," she said at length in milder tones.
His cheeks flamed at that, and an angry feeling stole into his heart. Judged by ordinary standards, he had no doubt been rude, and her words stung him all the more on that account. He would have played a more dignified part if he had pocketed the affront and opened the gate; but he was in no mood to go back on what he had done.
"If I have been rude and uncivil, you are to blame as much as I--and more," he retorted angrily.
"Indeed?" she said, in a tone of lofty disdain, and an amused smile played round the corners of her mouth. She was interested in the young man in spite of his incivility. Now that she had an opportunity of looking more closely at him, she could not deny that he had no common face, while his speech was quite correct, and not lacking in dignity.
"I hope I am not so churlish as not to be willing to do a kindness to anybody," he went on rapidly, "but I resent being treated as dirt by such as you."
"Indeed? I was not aware----" she began, but he interrupted her.
"If you had asked me to open the gate I would have done so gladly, and been proud to do it," he went on; "but because I belong to what you are pleased to call the lower orders, you cannot ask; you command, and you expect to be obeyed."
"Of course I expect to be obeyed," she said, arching her eyebrows and smiling brightly, "and I am surprised that you----"
"No doubt you are," he interrupted angrily. "But if we are lacking in good manners, so are you," and he turned and leaped off the stile into the field.
"Come back, you foolish young man."
But if he heard, he did not heed; with his eyes fixed on a distant farmhouse, he stalked steadily on, never turning his head either to the right or the left.
For a moment or two she looked after him, an amused smile dimpling her cheeks; then she turned her attention to the gate.
"I wonder what I am to do now?" she mused. "I cannot unfasten it, and if I get off, I shall never be able to mount again; on the other hand, I hate going back through the village the way I came. I wonder if Jess will take it?" and she rode the mare up to the gate and let her smell at the rungs.
It was an ordinary five-barred gate, and the ground was soft and springy. The road was scarcely more than a track across a heathery common. Beyond the gate the road was strictly private, and led through a wide sweep of plantation, and terminated at length, after a circuit of a mile or two, somewhere near Hamblyn Manor.
Jess seemed to understand what was passing through her mistress's mind, and shook her head emphatically.
"You can do it, Jess," she said, wheeling the mare about, and trotting back a considerable distance. "I know you can," and she struck her across the flank with her riding crop.
Jess pricked up her ears and began to gallop toward the gate; but she halted suddenly when within a few feet of it, almost dislodging her rider.
The young lady, however, was not to be defeated. A second time she rode back, and then faced the gate once more.
Jess pricked up her ears, and shook her head as if demanding a loose rein, and then sprang forward with the swiftness of a panther. But she took the gate a moment too soon; there was a sharp crash of splintered wood, a half-smothered cry of pain, and horse and rider were rolling on the turf beyond.
The novel begins with a clash of wills at a gate: a young woman on horseback, accustomed to instant obedience, orders a stranger to open it. He deliberately climbs over a stile instead. This small rebellion—against her tone, not her request—introduces a central pattern of resistance to authority. The opening chapter is titled 'An Imperious Maiden,' and the narrator notes her voice is 'soft and musical' but 'imperative.' The stranger, Ralph, resents the command even as he is 'charmed with the picture.' The scene establishes a dynamic of social friction that recurs throughout the excerpts.
Voices of Command and Defiance
The opening gate incident is not an isolated moment. The excerpts repeatedly show characters speaking their minds in ways that challenge social hierarchies. Chapter titles such as 'David Speaks His Mind,' 'Ralph Speaks His Mind,' and 'Dorothy Speaks Her Mind' suggest a pattern of direct, confrontational dialogue. The heroine, Dorothy, is described as having 'been so used to command and to prompt obedience' that Ralph's insubordination provokes her to flash her eyes and flush with anger. Later, Sir John raises a hunting-crop and strikes at Ralph—a physical escalation of the verbal defiance. These confrontations are not merely personal; they reflect broader tensions between landowners and tenants, as indicated by the catalog subjects 'Landlord and tenant -- Fiction' and 'Social classes -- England -- Fiction.'
A Village Transformed by Progress
One of the most detailed passages in the excerpts describes the transformation of Perranpool from a fishing village to a tourist destination. The narrator traces the chain of events: a London journalist writes a favorable article, lodging houses multiply, houses 'sprang up like mushrooms,' a coach service is established, gas and water companies form, a branch railway is built, and a Local Board quadruples the rates. The tone is wryly critical: the gas company charges a maximum for 'minimum candle-power,' and the water is 'so rich in microbes that the marvel was that anyone drank it and lived.' This development is the backdrop for Ralph's career as a contractor, and it introduces a theme of economic change that runs parallel to the romantic and social conflicts.
Ruth's Quiet Faith and Ralph's Ambition
Ralph's sister Ruth is portrayed through her internal reflections rather than dramatic action. She manages the household on a strict budget, never complains when her brother spends money on experiments, and believes in his 'ultimate success.' The narrator describes her as rejoicing in his 'impatience and discontent,' seeing something 'worthy and even heroic' in his restlessness. This is a nuanced portrait of domestic support and economic anxiety. Ruth's perspective contrasts with the imperiousness of Dorothy and the violence of Sir John. While the men and the squire's daughter engage in open conflict, Ruth operates in a quieter sphere of endurance and faith—a counterpoint to the novel's more overt tensions.
Readers should attend to the way Hocking weaves social commentary into his narrative of romance and class conflict. The development of Perranpool is not mere background; it mirrors the personal transformations and power shifts in the story. The recurring phrase 'speaks his mind' signals a novel where characters articulate their positions openly, but the excerpts also show that what is left unsaid—Ruth's silent sacrifices, the unspoken rules of class—shapes the action as much as any declaration.
Last evening I found myself thinking about the squire’s daughter’s sharp refusal to open her own gate, and how Hocking lets that one gesture speak for an entire dying order. It reminded me, quietly, of the way another writer captures a world already slipping away from those who live in it. A Child of the Jago — A Closer Reading holds that same ache of watching change arrive without asking permission.
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