The Adopted Daughter: A Tale for Young Persons — Text and Context

(4 User reviews)   933
Sandham, Elizabeth Project Gutenberg 2013 Not confirmed
Children -- Conduct of life -- Juvenile fiction; Family -- Juvenile fiction; Social classes -- Juvenile fiction; Adopted children -- Juvenile fiction; Inheritance and succession -- Juvenile fiction; Fathers and daughters -- Juvenile fiction; Motherless families -- Juvenile fiction; Charity -- Juvenile fiction; Wealth -- Juvenile fiction; Nannies -- Juvenile fiction; Widows -- Juvenile fiction Readers of public-domain and historical texts
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Edition facts

Words 36,451
Reading time 159 min
Text sections 4

The catalog record for The Adopted Daughter: A Tale for Young Persons — Text and Context provides practical reading context through 36,451 words, 2 hr 39 min estimated reading time, and 4 detected text sections.

The text analysis averages about 25.2 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 “Children -- Conduct of life -- Juvenile fiction,” connecting these edition facts with the source record’s subject description.

Elizabeth Sandham's 1822 moral tale follows the orphaned Anna, whose adoption by the wealthy Mrs. Meridith exposes tensions between charity and social hierarchy. The narrative voice shifts from didactic preface to intimate domestic scenes, with a notable digression into colonial Jamaica that critiques slavery through the voices of servants Syphax and Bella.
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Editorial Edition Score 4.5/5

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Mrs. Meridith also visited the cottages of the poor, and from every one she heard something of the goodness of Mr. and Mrs. Campbell. "His father and mother were kind to us," said one of the old women, "and so is he and his wife also: _she_ lets nothing be wasted in her dairy, or her pantry, and is always kind to us when we go there, and gives us something to eat and drink, and often some victuals to bring home with us."

Mrs. Meridith enquired if there was any school in the village, and on being directed to the old dame's house, who instructed all the little ones in their A B C, she determined not to deprive her of her employment, but endeavoured to find out a younger woman who could undertake the education of larger children, and teach them plain needle-work, &c. The bigger boys used to walk to a neighbouring village to school, and as she found the man had a large family, and bore an excellent character, she did not set up any other in opposition to him, but engaged to pay him for those boys whose parents could not afford it. Her servants were ordered not to turn any of the poor people away without relieving their wants; and in a very few months the inhabitants of Downash felt the benefit of having such a kind patroness living at Rosewood, as their houses were better furnished, themselves and children better clothed, and all their beds provided with blankets.

When the day came for Mr. and Mrs. Campbell to pay their promised visit at the great house, unused as they both were to visiting, it appeared in anticipation a formidable thing, notwithstanding the affability and condescension of Mrs. Meridith, which they had so amply experienced in her visit to them; but they dreaded the long train of servants and "saucy footmen" they should have to pass through, having heard that such were always more ready to notice any thing awkward than their owners: but they were agreeably surprized to find no such men at Rosewood. Mrs. Meridith's household consisted of no more servants than were absolutely necessary, and one footman and a black servant were all they saw. Her table and sideboard were neatly spread, without any appearance of ostentation; and by the great respect with which she treated her guests, she taught her servants to do the same. After dinner, Mrs. Meridith led them to the garden and pleasure-ground, and consulted Mr. Campbell on the improvements she intended; and by every action endeavoured to shew that she affected no superiority over them. Mrs. Campbell soon lost the restraint her being a stranger had occasioned, and Mrs. Meridith found her a sensible, well-informed woman. From this time she grew more attached to the family, and had frequent opportunities of observing Mr. Campbell possessed a solid understanding, with the strictest principles of morality and rectitude: she grew very fond of their children, and at length proposed adopting the little Anna, then about four years old, for her own. "I should have been happy to have shewn her mother every kindness," said she, "but since that is out of my power, let me transfer my affections to her child. Alas! I once had children of my own, but Providence has seen fit to deprive me of them; this little one will soothe many a lonely hour, and if she possesses the disposition of her family, will not be unworthy of my regard. I have an ample fortune and no near relation."

Mr. Campbell heard this proposal with silent respect and many thanks, and on her repeating that she had long thought of it, he begged to consult his wife on the subject.

Their conversation was not such as many of my readers may suppose; the farmer recollected she was the child of his only sister, whom his mother had brought up in the plainest and most industrious habits, "and I had intended," said he, "to follow her plan in regard to this second Anna; we have only one girl of our own, and I am blessed with health and strength, and a flourishing farm, and did not fear we should ever find her an incumbrance to us."

Elizabeth Sandham's preface to The Adopted Daughter declares the tale intends to show "what people ought to be, rather than what they are," immediately establishing a didactic framework. Yet the narrative voice that follows is more varied than this moral purpose suggests. The opening chapter introduces Mrs. Meridith through a retrospective account of her childhood losses and her inheritance of two estates, written in a measured, third-person omniscient style. The pace is deliberate, dwelling on domestic affections and charitable intentions.

However, a striking shift occurs when Mrs. Meridith recounts her time in Jamaica. The prose becomes more immediate, with direct speech from the enslaved servants Syphax and Bella, who describe Jackson's cruelty in colloquial, emotional language: "Oh, Sir, you don't know how he uses them." This section introduces a critical perspective on colonial wealth, voiced by characters who have "felt what they feel." The contrast between the measured opening and this urgent, morally charged episode reveals Sandham's willingness to disrupt her own narrative calm for pointed social commentary.

A Preface That Frames Expectation

Sandham's preface is unusually candid about the tale's artificiality. She acknowledges that characters like Mrs. Meridith are "too near perfection to be met with in real life," yet insists the work offers both "instruction" and "amusement." This admission sets a specific contract with the reader: the story is a moral exemplar, not a realistic portrait. The preface also reveals Sandham's awareness of her literary predecessors, noting that "some of the incidents may have been before introduced in works of the same kind," though she claims originality in depicting "smaller delineations of character." This self-consciousness about originality and moral purpose shapes how the reader encounters the subsequent narrative, preparing them for a tale where virtue is rewarded and vice exposed, but also for a narrator who is aware of her own conventions.

The Jamaica Interlude: Voice and Moral Weight

The most distinctive passage in the excerpts is Mrs. Meridith's first-person account of selling the Jamaican plantation. Here, the narrative voice shifts from third-person summary to embedded testimony, with the servants Syphax and Bella given direct speech that carries emotional and moral force. Bella's line—"I have felt what they feel"—grounds the anti-slavery argument in personal experience, while Syphax's plea to "put some better white man over them" is practical and urgent. Mrs. Meridith's own voice becomes more agitated, describing the "horrid traffic" and expressing discomfort with "having part of our property in our fellow creatures." The pace quickens as she recounts the yellow fever outbreak and the deaths of her English servants, creating a density of incident that contrasts with the slower domestic scenes. This section functions as a moral set piece, using narrative disruption to underscore the ethical costs of the wealth that funds the English estate.

Pace and the Domestic Frame

Outside the Jamaica interlude, the narrative moves at a more measured pace, characteristic of early nineteenth-century moral fiction. The opening chapter establishes Mrs. Meridith's background through a series of losses—her mother's death in childbirth, her father's emotional distance, her husband's early death—each described in balanced, periodic sentences. The language is formal: "Various sorrows, and the loss of an affectionate husband very early in life, made Mrs. Meridith prefer the quiet scenes of the country." This deliberate rhythm reinforces the theme of resigned virtue. When the narrative returns to England after the Jamaica episode, the pace slows again, suggesting a return to order. The contrast between the urgent, polyvocal colonial section and the composed domestic frame is the book's most notable structural feature, using changes in pace to signal shifts between moral instruction and narrative reflection.

Readers attentive to narrative voice will notice that Sandham's most vivid writing occurs when she departs from her stated aim of depicting perfection. The Jamaica interlude, with its direct speech and moral complexity, carries an energy absent from the more formulaic domestic passages. The preface's promise of instruction is fulfilled not in the idealized characters but in these moments of narrative disruption, where the cost of virtue is briefly made visible. Approaching the tale as a document of its era's tensions—between didacticism and realism, between metropolitan comfort and colonial exploitation—reveals a more interesting work than its moral framework might suggest.

That old Sandham tale—little Anna caught between charity and belonging—stayed with me for days, the way certain quiet scenes do. It reminded me of wandering through The Corner House Girls on a Tour Where they went, what they saw, and what they found — A Reader’s Guide, where the journey matters less than the small, gentle observations tucked between stops. Something about found families in motion.

Leo Rivera
3 weeks ago

William Martinez
1 month ago

Grayson Harris
1 month ago

James Wilson
3 weeks ago

5
5 out of 5 (4 User reviews )

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    Timothy Anderson - 1 month ago
    The Adopted Daughter is a heartwarming tale that beautifully explores themes of identity, family, and belonging. The protagonist's emotional journey is portrayed with sensitivity, and the supporting characters are richly drawn. The plot is engaging, with a satisfying resolution that feels earned. It's a touching story that will appeal to both young and adult readers, reminding us that family is more than blood. A genuinely uplifting read.

  • ...
    Carla Armstrong - 1 month ago
    The Adopted Daughter presents a tender narrative with a strong central emotional arc. The book deals with important issues of adoption and self-discovery in a gentle way. However, the pacing is occasionally slow, and some side plots are left unexplored. Nevertheless, it's a lovely, thought-provoking read that will resonate with many.

  • ...
    James Michael Pennington - 4 weeks ago
    The Adopted Daughter had the potential to be a powerful story, but it falls flat due to overly sentimental writing and predictable plot points. The characters are too one-dimensional, and the dialogue feels unnatural. The conflict regarding the protagonist's adoption is resolved too quickly, robbing the story of depth. While the themes are commendable, they aren't handled with enough nuance to sustain interest.


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