Monica's choice — Story, Setting & Ideas
Edition facts
For Monica's choice — Story, Setting & Ideas, the stored edition analysis reports 76,378 words, 5 hr 33 min estimated reading time, and 11 detected text sections.
The text analysis averages about 20.5 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 “Christian life -- Juvenile fiction,” connecting these edition facts with the source record’s subject description.
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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.
Read the Text
uick, because I’m in a great hurry?"
Even insubordinate Monica quailed before the expressions which flitted across the old lady’s features--amazement, anger, and finally scorn.
"I am simply _astounded_ at your rudeness, Monica," she said, sternly. "How you can possibly allow yourself to speak to me in such a manner, I cannot imagine. It is very evident that you are no Beauchamp."
The scorn expressed in her grandmother’s tones acted in the same way as a touch of the whip about the ears of a thoroughbred mare. She started, and tears of wounded pride welled up in her flashing hazel eyes, but they were quickly forced back.
"I _am_ a Beauchamp!" she cried, her lips quivering with anger, and her head thrown back. "Every one says I am my father over again."
"So you may be, in looks, Monica, but he would never have dreamed of addressing me in the manner you did just now."
"Well, perhaps he wasn’t aggravated like I am. Miss Thompson is enough to provoke a saint," she added, _sotto voce_, with a furtive glance at the old lady’s face.
But Mrs. Beauchamp took no notice of it; indeed, it is doubtful if she heard the remark, so engrossed was she in deciding how best to deliver the lecture she had undertaken to give Monica. A startled exclamation from her grandchild, who had been moodily staring out of one of the French windows, which overlooked a large sweep of the carriage drive, effectually roused her.
"Oh! now he’s gone; I do call it too bad!"
"What do you mean, Monica?" queried the old lady, rising from her chair and following the direction of Monica’s glance.
"Why, Tom. The stable-boy, you know, grand-mamma," she added, as Mrs. Beauchamp looked incredulous. "I was in the yard when you sent for me, and he was telling me about the jolliest little wire-haired terrier his father wants to sell, and I----"
"Monica, how many times have I told you I will not allow you to frequent the stable-yard? I am sure it is there that you pick up all the vulgar expressions you are so continually using. I begin to think Miss Thompson is right in saying you are no lady."
"Bother Miss Thompson!" cried Monica, now thoroughly angry, and losing all control of her words; "she’s a sly old cat, that’s what she is, spying round after me all day long. It’s the only bit of fun I get, when I----"
"Be quiet, Monica, and listen to me," said her grandmother, who was scarcely less angry, but who held herself in admirable check. "It is quite time that some one controlled you, and I have sent for you this afternoon to tell you that I am going to----"
"Send me away to boarding school?" interrupted Monica, her anger temporarily subsiding, for, of all things, she desired to go away to school, but it had always been tabooed. "Oh! grandmamma, _do_! I would really behave well there." And she seized one of the old lady’s white hands impulsively in her warm, and decidedly dirty young fingers, while the girlish face quivered with excitement, until she looked a totally different being. But she was doomed to disappointment.
"Nothing of the kind, Monica," replied Mrs. Beauchamp coldly, and withdrawing her hand. She never responded to her granddaughter’s advances, which probably accounted for the difficulty she had in dealing with her; for Monica had a warm heart hidden away somewhere, which no one but her father had ever reached. "I was going to say, when you so rudely interrupted me again, that as you have had four governesses within very little more than a year, who, one and all, have declared that you are unmanageable, and that it is an utter impossibility to teach you, I shall be obliged to seek some other mode of education for you."
Monica’s face, which had fallen considerably at the beginning of her grandmother’s speech, now brightened visibly.
"There is nothing else but boarding-school left," she said, with satisfaction. It was to this end that she had made the lives of her long-suffering instructresses unendurable by her tricks and general unruliness.
"You know perfectly well, Monica, that you will never go to a boarding-school," replied Mrs. Beauchamp.
"That was only a fad of mother’s," said Monica, disdainfully. "Dad would never have forbidden it. He thought no end of Harrow, and I’m sure he would let me go to school if you told him what a bother the old governesses are."
The novel opens with a telling contrast: Mrs. Beauchamp, aristocratic and weary, sighs over her granddaughter Monica, while Monica herself enters “like a young lioness at bay.” The grandmother’s frustration—she wishes Conrad had never left the girl with her—immediately establishes a central tension between duty and resentment. Monica’s wilfulness is not merely described; it is shown through slammed doors that jingle the drawing-room knick-knacks, a small but precise detail linking her rebellion to the fragile order of the household.
Later, in a schoolroom scene, the focus shifts to a different kind of conflict. Olive witnesses Lily Howell cheating during an arithmetic exam, using notes hidden behind a pencil-box. Monica, who “loathed telling tales,” refuses to report it, but Olive threatens to expose Lily if she comes out top. The episode ends with Lily planting the crib notes in Monica’s desk, framing her. This sequence reveals how the story uses school dynamics to explore honor, deception, and the consequences of silence.
The Weight of a Name: Monica’s Position
The title Monica’s Choice signals that the protagonist’s decisions are central, but the excerpts show that her choices are heavily constrained. She is an orphaned granddaughter left in the care of a grandmother who finds her a burden. Mrs. Beauchamp’s internal monologue—“I am sure I wish Conrad had never left her with me”—reveals a reluctant guardian, not a loving one. Monica’s response to being summoned is defiant: she slams the door, a physical assertion of will against the fragile, ornamented drawing-room that represents her grandmother’s world.
Yet Monica is also subject to the judgments of others. In the schoolroom, she is described as “tall, and with a haughty mien,” but her face “denoted much character.” This phrasing suggests a tension between how she appears and how she is perceived. The governesses, we learn, have failed to manage her, and her grandmother admits she doesn’t know what to do. Monica is thus positioned as a problem to be solved, not a person with agency—a setup that makes the promised “choice” all the more significant.
Cheating and Its Aftermath: A Test of Loyalties
The arithmetic exam scene is the most detailed episode in the excerpts, and it operates as a microcosm of the novel’s moral landscape. Olive, Monica’s friend, spots Lily Howell using a hidden crib sheet. Olive’s reaction is visceral: she calls Lily a “horrid, mean, hateful sneak” and imagines her being expelled. But when the evidence vanishes, Olive is left frustrated, unable to prove what she saw. Monica’s response—“Oh, let it be”—shows a preference for avoiding confrontation, even when wronged.
Lily’s countermove is calculated: she drops the crib notes in Monica’s desk to frame her. The text notes that Lily acted “under the impression that her neat little scheme … had been quite unobserved.” This detail highlights the gap between appearance and reality that runs through the story. The cheating incident is not just a schoolyard drama; it tests friendships, exposes hypocrisy, and sets up a situation where Monica may have to defend her integrity against false evidence.
Voice and Structure: Dialogue as Conflict
The excerpts rely heavily on dialogue and interior monologue to advance conflict. Mrs. Beauchamp’s thoughts are given in full, with her sighing and mechanical toying with rings conveying her anxiety. Monica’s speech is direct and confrontational: “Barnes told me that you had sent for me, grand-mamma.” The formal address contrasts with her aggressive entrance, suggesting a struggle between expected decorum and genuine emotion.
In the schoolroom, Olive’s internal outrage is rendered in exclamatory fragments: “The horrid, mean, hateful sneak!” This colloquial voice differs sharply from the narrator’s more measured descriptions, creating a layered effect. The chapter titles, drawn from quoted lines, further emphasize spoken language as a driver of plot. Titles like “I Wish Conrad Had Never Left Her with Me” and “A Nice Scrape She’ll Get Into!” preview key moments of tension, inviting readers to attend to what characters say—and what they leave unsaid.
Readers attentive to the novel’s patterns will notice how often characters are observed watching one another: Olive watches Lily, Monica watches Olive, and Mrs. Beauchamp watches Monica. This surveillance creates a world where actions are rarely private, and reputation is fragile. The cheating episode, in particular, rewards close attention to who sees what and when. As the story unfolds, Monica’s choices will likely involve navigating these layers of scrutiny—deciding when to speak, when to stay silent, and how to act when the truth is not easily proved.
Reading about Monica’s quiet defiance under her grandmother’s watch made me think of another kind of stubbornness I once stumbled upon. The Girls of Friendly Terrace; or, Peggy Raymond's Success — Story, Setting & Ideas carries that same gentle ache of growing up surrounded by expectations, where loyalties bend and choices feel heavier than they should at that age. It stayed with me like a half-remembered afternoon.
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