The Girls of Friendly Terrace; or, Peggy Raymond's Success — Story, Setting & Ideas
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The catalog record for The Girls of Friendly Terrace; or, Peggy Raymond's Success — Story, Setting & Ideas provides practical reading context through 63,705 words, 4 hr 37 min estimated reading time, and 8 detected text sections.
The text analysis averages about 14.8 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 “Friendship -- 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
I. The Return of Peggy II. The Girl Next Door III. Making Friends IV. A Busy Afternoon V. A Hallowe’en Party VI. Elaine Has Visitors VII. The Bazar VIII. At Home with the Dunns IX. Peggy Acts as Critic X. Ruth Is Perplexed XI. Christmas Preparations XII. Dorothy Goes Shopping XIII. Christmas Celebrations XIV. A Disagreement XV. A Pathetic Story XVI. A Belated Invitation XVII. Elaine Upsets Tradition XVIII. A Remarkable Evening XIX. Amy Is Disillusioned XX. An Eventful Picnic XXI. An Unexpected Visitor
*LIST OF ILLUSTRATIONS*
Peggy . . . . . . . . . . . . . . . . . . . . . _Frontispiece_
"A sheeted figure at the door welcomed each comer with extended hand"
"The rapidity with which the ice cream disappeared was startling, to say the least"
"Staring with surprise at her brother’s crestfallen figure"
"’Why not ask Peggy?’"
"Luncheon was served shortly after their arrival"
*The Girls of Friendly Terrace*
*THE RETURN OF PEGGY*
The naming of the Terrace was a happy accident. It must have been an accident, for Jenkins Avenue crossed it at right angles, and just to the north ran Sixtieth Street. No one could have guessed when the Terrace was laid out that the name would prove so appropriate, and that the comfortable cottages would have such a cordial, neighborly look, as if nodding greetings to one another across their neat strips of lawn. When the name Friendly Terrace appeared on the street lamps at the corner there were no smiling faces visible at the front windows of the houses, no plump babies rolling over the lawns, no girls gathering on one another’s porches, like robins in the boughs of a cherry tree, or strolling along the sidewalk, two by two, with their arms about each other’s waists. The naming of the Terrace must have been a happy accident, or else an inspiration.
There was usually a girl in evidence on Friendly Terrace at any hour of the day, and this morning there were three of them. They ranged from tall Priscilla, who was five feet seven, and mortally afraid of growing taller, down to Amy, who was almost as broad as she was long, and who was in a chronic state of announcing her determination to leave off eating candy next week. Ruth, who on this occasion served as the connecting link between the two extremes, was a slender girl, whose alert air told plainly that she was on the watch for something or somebody.
"Once when my Aunt Fanny was coming to make us a visit," Amy observed reminiscently, "her train was six hours late. Just think if Peggy’s train--"
"Don’t!" exclaimed Priscilla rather fretfully, and Ruth said with decision, "O Peggy’s train couldn’t be late, she’s coming such a tiny bit of a way."
"It might be if there was a wreck," Amy insisted triumphantly. "That was the matter when Aunt Fanny came. A freight train was wrecked just ahead of them, and they had to stand on the track for hours and hours. We waited luncheon for her till I was almost starved."
The other girls exchanged amused smiles. The thought of Amy, undergoing the pangs of starvation, was likely to present itself in a humorous light. Amy saw the look and understood it, but was far from being offended. In point of disposition, Amy was as sweet as the confections she was always on the point of denying herself. An appreciative giggle showed that she understood her friends’ point of view.
"That’s always the way," she said, with unimpaired cheerfulness. "Fat people never get any sympathy." She stopped abruptly, for Ruth had uttered a stifled scream and was pinching her arm.
"The hack!" cried Ruth. "The hack’s coming. Peggy’s here."
The non-committal vehicle, rapidly approaching from the direction of the Avenue, was mud-stained and shabby, but the appearance of Cinderella’s golden coach would hardly have been the occasion for greater excitement. Ruth clasped her hands, her color coming and going. Tall Priscilla forgot her dignity and capered like a five year old, while Amy went tripping down the street to meet the hack, which, of course, passed her, reducing her to the necessity of following in pursuit, panting and very red in the face. All along the Terrace people came to the windows at the sound of wheels, for from the mothers down to the babies, everyone knew that Peggy Raymond was coming home that morning. Even Taffy, Peggy’s dog, bounded out to add his mite to the general welcome.
"Talk of the intelligence of animals," gasped Priscilla, as Taffy shot between Ruth and herself, narrowly avoiding upsetting both. "That dog knows it’s Peggy just as well as we do. O why don’t the man stop in the right place?"
Harriet Lummis Smith opens The Girls of Friendly Terrace with a wry observation about the naming of the street: "The naming of the Terrace was a happy accident. It must have been an accident." This deliberate repetition and the contrast between the name and the initial absence of friendly activity establish a tone of gentle irony. The narrator quickly populates the scene with three girls—Priscilla, Amy, and Ruth—each described through physical traits and a telling detail: Priscilla is "mortally afraid of growing taller," while Amy is "in a chronic state of announcing her determination to leave off eating candy next week." These characterizations rely on specific, concrete language rather than abstract praise, grounding the story in observable behavior.
Diction and the Construction of Character
Smith's word choices reveal character with economy. Amy's reminiscence about her aunt's train being "six hours late" introduces a tendency toward exaggeration and self-dramatization. Ruth's reply—"O Peggy's train couldn't be late, she's coming such a tiny bit of a way"—uses the colloquial "O" and the diminutive "tiny bit" to convey both affection and a desire to reassure. The narrator describes Ruth as having "an alert air" that shows she is "on the watch for something or somebody," a phrase that blends physical description with psychological state. Later, when Peggy reacts to Dorothy's discovery of a doll's petticoat, the narrator notes that Peggy "stifled the irritable exclamation which rose to her lips with such unwonted readiness." The adverb "unwonted" signals a departure from Peggy's usual patience, hinting at internal conflict without explicit statement.
Dialogue as a Vehicle for Social Norms
The dialogue in the excerpts encodes the social expectations of the girls' world. When Ruth confesses that Christmas is "just spoiled" because of her brother Graham's deceit, Peggy advises: "there is only one way out, and that's to be frank and above board." The idiomatic phrase "above board" belongs to a register of moral clarity that the novel endorses. The narrator then comments: "Unwelcome advice seldom seems good advice to the recipient." This aphoristic aside distances the narrative voice from Peggy's perspective, allowing the reader to judge Ruth's resistance. In contrast, Dorothy's speech is marked by childish logic: "It looks 'zactly like a dunce cap, Aunt Peggy, and then I'd be the little dunce, wouldn't I?" The misspelling in the transcription ("'zactly") and the tentative suggestion about the petticoat show Smith's ear for juvenile diction.
Recurring Motifs: Gifts, Secrets, and Disappointment
Gift-making and gift-receiving form a structural motif in the excerpts. Peggy's "bureau scarf" and Dorothy's shopping list—"'fumery," a "naughty-mobeel," and a "candy cane"—illustrate the economic and emotional stakes of Christmas preparations. The narrator notes that Dorothy "had not reached the point of estimating a gift by its money value," a statement that implicitly contrasts with adult concerns. Secrets also recur: Ruth reads a letter without permission, and Peggy hides her irritation. The narrator describes Peggy's "varying moods of dejection and irritation" as a "trifling cause for disquiet" compared to Ruth's burden, using the word "trifling" to minimize Peggy's complaints while acknowledging their reality. This layering of small disappointments—a lost petticoat, a brother's deceit—creates a texture of everyday moral complexity.
Narrative Voice and the Management of Sympathy
Smith's narrator shifts between close focalization and detached commentary. When Peggy "felt a little twinge of shame" for her earlier irritability, the narrator reports her thoughts indirectly: "The finishing of a specified number of gifts at a specified time seemed a trifling cause for disquiet." The repetition of "specified" mimics the mechanical nature of Peggy's task, while the word "trifling" echoes the narrator's earlier judgment of Ruth's reaction. Later, the narrator describes Peggy as having "less of the air of a sweat-shop worker" after she resolves to be patient—a simile that introduces a note of social critique into a domestic scene. The final sentence of the excerpt, describing Ruth's "bitterest of all disillusions, disappointment in one she had loved and trusted," uses parallel structure and elevated diction to elevate a juvenile problem to a universal theme.
Readers attentive to Smith's diction will notice how often she uses the word "little" to modify emotions and objects—"a tiny bit of a way," "a little twinge of shame," "a little dunce cap." This verbal tic suggests a world scaled to childhood, where even serious disappointments are contained by domestic boundaries. The novel rewards attention to such patterns, as they reveal the author's craft in balancing sentiment with realism.
This book reminds me of summer afternoons on my grandmother’s porch, where the girls’ careful negotiations over borrowed ribbons felt like quiet diplomacy. I once had that same warm ache reading The Flying Reporter — Text and Context, where a boy’s impulsive kindness also needed its own gentle limits. Funny how old stories still hold those tender boundaries.
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