Hope Benham: A Story for Girls — Reading Notes
Edition facts
For Hope Benham: A Story for Girls — Reading Notes, the stored edition analysis reports 69,038 words, 5 hr 1 min estimated reading time, and 7 detected text sections.
The text analysis averages about 21.0 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 “Poor -- Juvenile fiction,” 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
It was on Wednesday that a little party of girls came hurrying into the Brookside station, as if they had not a minute to lose, when one of them exclaimed: "Why, our train has gone; look at that!" pointing to the indicator. "The next train goes at 1.40. We shall have only twenty minutes to get from the Boston station to the Museum."
"Time enough," answered Mary Dering; "we always go too early. But there's our little girl. We shall have ample opportunity now to buy all the flowers we want. Dolly," to her younger sister, who was marching up and down the platform with a friend of her own age, "Dolly, don't you want to buy some flowers?"
"Flowers? Oh, yes!" and Dolly came racing up, calling out in a loud whisper, as she joined the group, "Say, Mary, is that your wonderful flower-girl?"
"Hush, Dolly; don't!"
"Don't whisper so loudly; she can hear you."
Dolly laughed. "What if she does? I didn't say anything that wasn't nice."
The group of girls pressed around Hope, and bought lavishly of her stock. Dolly and her friend Lily Styles were the latest of the buyers, for coming up last they were on the outside of the group. As they stood alone with Hope, they picked and pecked first at one bouquet, and then another. This was fuller, and that was bigger, and still another was prettier and pinker. At last they made a choice, and Hope breathed a sigh of relief at the thought that now her exacting purchasers would leave her to herself. But Dolly Dering had no notion of leaving Hope to herself. No sooner was the purchase concluded than Miss Dolly, lifting her big black eyes with a curious gaze to Hope's face, asked abruptly,--
"Do you like to sell flowers on the street?"
Hope flushed hotly. "I don't sell flowers on the street."
"Well, in a station, then. I should think that was just the same as on the street; it's out-of-doors in a public place."
Hope made no further reply. She would have moved away if she could have done so easily, but the two girls stood directly in front of her, completely shutting her into her corner. Perhaps, however, they would go away if she busied herself with her flowers, and she began to re-arrange and spray them with water. But Dolly, at sight of this operation, began with fresh interest, "Oh! is that the way you keep 'em fresh? How nice! let me try it, do!" and before Hope could say "yes" or "no," she had seized the sprayer out of her hands. Her first effort, instead of benefiting the flowers, sent a sharp little sprinkle directly against Hope's light cloth jacket. Hope started back with an exclamation of dismay.
"Oh, it won't hurt it!" cried Dolly. Then, as she saw Hope rubbing the wet place with her handkerchief, she asked, "Will your mother punish you if she finds the jacket spotted?"
"Punish me?" exclaimed Hope, looking up at the questioner.
"Yes, punish you; whip you, perhaps."
"My mother--whip me?" ejaculated Hope, staring at Dolly, as if she thought her out of her mind.
"Yes, whip you; I didn't know--"
"Would _your_ mother whip _you_ if you got spots on _your_ jacket?" inquired Hope, in a sharp, indignant voice.
"Then why should you think _my_ mother would whip _me_?"
Dolly was not a very sensitive young person, but she could not blurt out exactly what was in her mind,--that she thought all poor people, working-people, whipped their children when they offended them in any way. Her ideas of poor people were very vague, and gathered partly from the talk of her elders about the North End poor that the Associated Charities assisted. In this talk a word now and then concerning the careless way in which these people beat their children for the slightest offence impressed her more than anything. Then Bridget Kelly, who had been Dolly's nurse, had often related stories of her own childish naughtinesses, for her--Dolly's--benefit, and she had almost invariably wound up these stories with the remark, "And didn't my mother beat me well for being such a bad girl!"
The novel opens not with Hope Benham herself, but with a cry—"Ten cents a bunch! ten cents a bunch!"—that draws three Brookside girls to a flower seller. That seller is Hope, and the transaction immediately establishes a central tension: the girls' casual delight in the arbutus contrasts with Hope's labor in picking and selling it. Perry sharpens this contrast by juxtaposing the two stations: Brookside, with its "fine and elegant stone structure," and Riverview, "just a plain little wooden building." The arbutus, found in Riverview woods, becomes a token of the natural world that bridges—but does not erase—the economic divide between the towns.
Dialogue as a Tool of Character
Perry uses dialogue to reveal character with economy. When Dolly Dering presses Hope to participate in a musicale, Hope's replies are brief and evasive: "I don't think I can." Dolly's persistence—"whipping out that tablet with a 'Now, then, give an account of yourself' air"—prompts her brother Jimmy to call her "the biggest bully I ever met." The quarrel that follows exposes Dolly's tearful defensiveness and Jimmy's bluntness, while Mrs. Dering's hushed admonition—"Children, children, stop quarrelling, right here in public!"—underscores the social proprieties that govern their world. Hope's own voice remains largely unheard in this exchange, her reticence a counterpoint to the Dering family's voluble self-assertion.
The Violin as a Marker of Identity
Hope's violin is not merely a prop but a carefully specified object. Dolly reports that it "cost enough" and is "a regular Cremona," made by "an Italian who was a pupil of Stradivari." Jimmy's excited response—"to see a real old Cremona would be worth while"—and his digression about imitations signal the violin's cultural weight. The instrument's provenance, traced through an old teacher and a brother in Paris, links Hope to a lineage of craftsmanship and artistry that transcends her modest circumstances. Perry does not describe the violin's appearance; instead, she lets its reputation and the characters' reactions define its significance.
Setting as Social Commentary
The opening chapter draws a sharp geographical and social line: "In Riverview were manufactories, locomotives, and iron-works... But in Brookside were only fine suburban residences." The railroad station of each town mirrors its inhabitants—Brookside's "fine and elegant stone structure" versus Riverview's "plain little wooden building." This binary is not merely backdrop; it shapes the characters' interactions. The Brookside girls' surprise that arbutus grows "so near Boston as that" betrays their limited awareness of the neighboring town. Perry uses setting to dramatize class distance without explicit editorializing, letting the physical details speak for themselves.
Reticence and Revelation in Narrative Voice
Perry's narrator often withholds direct access to Hope's interiority, especially in early scenes. When Dolly interrogates her, the narrative reports only Hope's spoken words and a few gestures—"glancing up from her contemplation of the flowers to the flower-seller." The reader must infer Hope's feelings from her brevity and from others' reactions. Later, when Mrs. Dering recalls meeting Hope's father in Paris, the information arrives secondhand, filtered through memory and speculation. This indirect method builds curiosity about Hope's inner life while aligning the reader with the limited perspective of the Dering family. The effect is to make Hope's eventual emergence as a musician and individual all the more striking.
Readers attentive to Perry's craft will notice how she weaves economic detail, musical lore, and social friction into a narrative that resists easy sentiment. The arbutus, the Cremona, the stations—each carries weight beyond its immediate function. Hope herself remains partly opaque, a figure whose reserve invites interpretation. This edition preserves the original illustrations by Frank T. Merrill, which capture key moments—Hope with her violin, the flower-selling scene—that complement Perry's verbal textures.
There’s something about Hope’s quiet holding of her violin—that dutiful, almost lonely grip on beauty—that keeps returning to me these days, the way old songs do. It reminds me of how Hope Benham lingers, and how another tale of The Little Colonel in Arizona — Reading Notes carries a similar undercurrent of growing into one’s own, not loudly, but by degrees. Time feels softer when I think of these young women.
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Charles Foster - 1 month ago
Hope Benham is overly sentimental and lacks originality. The character of Hope is too perfect to be believable, and the conflicts are trivial and resolved too conveniently. The writing style feels old-fashioned and preachy. I wanted to like the story, but it offers little in the way of substance or complexity. A forgettable read. -
Tiffany Turner - 3 weeks ago
Hope Benham: A Story For Girls is a charming and uplifting tale that will resonate with young readers. Hope is a wonderful protagonist—kind, determined, and relatable. The themes of friendship, family, and self-discovery are woven beautifully into the narrative. The writing is warm and engaging, making it hard to put down. A perfect book for girls who love stories that inspire and entertain. -
Karen Cooper - 2 weeks ago
Hope Benham is a sweet story with a lovely heroine and positive messages. It's easy to get caught up in Hope's world, and the plot has some heartwarming moments. However, the story is somewhat predictable, and the issues Hope faces are resolved a bit too easily. Still, it's a pleasant read for fans of wholesome fiction.
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Elijah Johnson
3 weeks ago