A Plucky Girl — Themes and Context
Edition facts
For A Plucky Girl — Themes and Context, the stored edition analysis reports 95,810 words, 6 hr 57 min estimated reading time, and 9 detected text sections.
The text analysis averages about 15.9 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.
Calculated from edition completeness, EPUB availability, text structure and catalogue metadata. Not a user rating.
How this score is calculated
- 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.
Read the Text
Mother looked at me in despair.
"How old are you?" she said suddenly.
"You know quite well," I replied, "I was twenty-one a month ago."
Mother shook her head sadly.
"If you really intend to carry out this awful idea, West, you must consider youth a thing of the past," she said.
I smiled and patted her cheek.
"Nothing of the sort," I answered; "I mean to be young and vigorous and buoyant and hopeful as long as I have you with me, so there! Now, may I ring the bell and tell Paul to desire Jenkins to bring the victoria round at eleven o'clock?"
Mother could not refuse, and having executed this order I sat down with considerable appetite to breakfast. I was really enjoying myself vastly.
Punctual to the hour, I stepped into our pretty carriage. First of all I would visit my dear old godmother, the Duchess of Wilmot.
Accordingly, early as it was, I told Jenkins to drive me to the Duchess's house in Park Lane. When we drew up at the house I jumped out, ran up the steps and sounded the bell. The man who opened the door informed me that her Grace was at home to no one at so early an hour.
I thought for a moment, then I scribbled something on a little piece of paper.
"Dear Duchess," I said, "I want to see you particularly, the matter is very urgent.--Your god-daughter,
This I twisted up and gave to the man.
"Give that to her Grace, I will wait to see if there is an answer," I said.
He came down in a moment or two.
"Her Grace will see you, Miss Wickham," he said.
I entered the house, and following the footman up some winding stairs and down some corridors, I was shown into the small boudoir where the Duchess generally sat in the morning. She was fully dressed, and busily writing notes.
"That will do, Hartop," she said to the man; "close the door, please. Now then, Westenra, what is the meaning of this? What eccentric whim has induced you to visit me at so early an hour?"
"I wanted to tell you something," I said; "mother is awfully distressed, but I thought you had better know."
"How queer you look, my child, and yet I seldom saw you brighter or handsomer. Take off your hat and sit near me. No, I am not specially busy. Is it about the Russells' reception? Oh, I can take you if your mother is not strong enough. You want to consult me over your dress? Oh, my dear Westenra, you must wear----"
"It has nothing to do with that," I interrupted. "Please let me speak. I want to say something so badly. I want to consult you."
"Of course," said her Grace.
She laid her jewelled hand on my arm. How I loved that white hand! How I adored my beautiful old friend! It would be painful to give her up. Was she going to give me up?
"I will tell you something quite frankly," I said. "I love you very much; you have always been kind to me."
"I am your godmother, don't forget."
"A great trouble has come to us."
"A great trouble, my dear, what do you mean?"
"Mother thinks it a fearful trouble, and I suppose it is, but anyhow there are two ways of taking it. There is the sinking-down way, which means getting small and poor and thin, anaemic, in short, and there is the bold way, the sort of way when you stand up to a thing, you know what I mean."
"You are talking school-boy language. My grandson Ralph would understand you; he is here; do you want to see him? I am a little too busy for riddles, Westenra."
"Oh! I do beg your pardon. I know I am taking a great liberty: no one else would come to you at so early an hour."
"Well, speak, my dear."
"We have lost our money."
"Lost your money!" cried the Duchess.
"Yes; everything, or nearly everything. It was through some bad investments, and mother was not at all to blame. But we have nothing left, or nearly nothing--I mean we have a hundred and fifty a-year, about the price of one of your dresses."
"Don't be personal, Westenra--proceed."
"Mother wants to live in a cottage in the country."
"I do not see how she could possibly do it," said the Duchess. "A cottage in the country! Why, on that pittance she could scarcely afford a workman's cottage, but I will speak to my friends; something must be arranged immediately. Your dear, lovely, fragile mother! We must get her a suite of apartments at Hampton Court. Oh! my poor child, this is terrible."
The narrator, Westenra Wickham, introduces herself by her unusual name—her mother gave her the full name of her father, a Major-General killed in Zululand. The opening chapter establishes a household defined by loss and devotion: the mother speaks of her dead husband as if he were still present, and the daughter grows up with a passionate attachment to his memory. The catalog subjects list boardinghouses and mothers and daughters, but the excerpts show that the boardinghouse is a scheme devised by Westenra to support herself and her ailing mother after they lose their Mayfair home. The story’s emotional weight falls on financial anxiety, withheld information, and the narrator’s determination to appear cheerful while privately grieving.
A Name That Carries a Father’s Legacy
Westenra Wickham is named after her father, John Westenra Wickham, and the name becomes a marker of her identity. She reports that people commented on it as she grew up, and her mother pronounced it slowly, with evident love. The father died a month before her birth, yet the household is saturated with his presence: the mother tells stories of his bravery, his Victoria Cross, and his death rescuing a brother-officer. The narrator says she grew up with a “great passionate affection” for her dead father and pride in his memory. This framing does more than establish backstory—it positions Westenra as someone who must live up to a heroic ideal. The catalog subject “Mothers and daughters” is accurate, but the excerpts reveal that the mother-daughter bond is mediated by the absent father’s legend, and that the daughter’s pluck may be partly an effort to embody his courage.
Secrets, Suspense, and the Boardinghouse Scheme
The excerpts contain multiple layers of withheld information. Jim Randolph, a friend of the family, tells Westenra he must leave England due to “unexpected calamity” but refuses to explain. He admits that her mother knows “something but not all,” and that the servant Jane knows the full secret. Westenra presses him: “It is unfair on me to keep me in the dark.” He promises to tell her when he returns. Meanwhile, Dr. Reade’s words about her mother’s health “begin to hurt,” and Westenra plans to wait until night to give way to grief. The boardinghouse, which the catalog lists as a subject, is not described in detail in these excerpts, but it is clearly the setting for much of the action. The emphasis falls on the strain of maintaining appearances—Westenra buys flowers and dainties for her mother, laughs heartily, and hides her unhappiness. The story’s tension arises less from romance than from the threat of financial ruin and the burden of undisclosed truths.
The Language of Restraint and Resolve
Westenra’s narration is marked by controlled emotion and a vocabulary of duty. She speaks of “keeping up” and not breaking down, of “the long blessed hours” when she can let her grief overpower her. When Jim Randolph says he must trust her, she replies with questions but ultimately accepts his secrecy. The prose is direct, with short sentences and frequent use of dashes to convey hesitation or urgency. The word “plucky” in the title is never used in the excerpts, but the narrator’s actions—taking on commissions for Jane, cheering her mother, facing the doctor’s prognosis alone—embody the quality. The catalog subject “Love stories” may apply to the full novel, but the excerpts show no romantic development; instead, the emotional core is the daughter’s struggle to manage fear and sorrow while projecting strength. The setting in London’s boardinghouse world is evoked through small details: the Square garden, the dinner-time errands, the “little special dainty” bought for mother.
Readers should attend to the gaps in what Westenra knows versus what the reader suspects. The novel’s suspense depends on secrets kept by Jim Randolph, Jane, and even the mother. The boardinghouse is not merely a setting but a precarious enterprise, and the narrator’s voice—resolute yet vulnerable—carries the story. The catalog subjects provide a starting point, but the excerpts suggest a narrative more concerned with financial peril and filial duty than with romance.
That rainy Tuesday, I kept returning to Westenra's ledger, her quiet arithmetic of survival. When the last page turned, I sat there, not wanting to leave that particular twilight. On a whim, some damp yarn stirred inside me. I found myself drifting to The Adopting of Rosa Marie (A Sequel to Dandelion Cottage), and those girls’ careful, hopeful household felt like the same stubborn warmth, just a different kind of roof.
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