The House That Grew — Story, Setting & Ideas
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The source record for The House That Grew — Story, Setting & Ideas measures this digital text at 48,801 words, 3 hr 33 min estimated reading time, and 5 detected text sections.
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Project Gutenberg metadata also associates the work with “Conduct of life -- Juvenile fiction,” connecting these edition facts with the source record’s subject description.
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She did not speak any way, except just to whisper to me when I ran up to kiss her before we went out, 'We will have a good talk about it all afterwards, darling. Run out now with Geordie.'
I was very glad to get out of the room, I was so dreadfully afraid of beginning to cry myself. I didn't know which I was the sorriest for--papa or mamma--mamma, I think, though I don't know, either! Papa tried to be so cheerful about it; it was almost worse than if he had spoken very sadly. It reminded me of Dods when he was a very little boy and broke his arm, and when they let me peep into the room just after the doctor had set it, he smiled and whistled to make out it didn't hurt much, though he was as white as white. Poor old Doddie! And poor papa!
'It'll be worse for us and for mamma than for papa, won't it, Dods?' I said, as soon as we were outside and quite out of hearing. 'They always say that it's the worst for those that are left behind--the going-away ones have the change and bustle, you see.'
'How can I tell?' said Dods; 'you ask such stupid things, Ida. It's about as bad as it can be for everybody, and I don't see that it makes it any better to go on counting which it's the worst for.'
He gave himself a sort of wriggle, and began switching the hedge with the little cane he was carrying; by that and the gruff tone of his voice, I could tell he was feeling very bad, so I didn't mind his being rather cross, and we walked on for a minute or two without speaking.
Then suddenly Dods--I call him Dods, but his real name is George, and mamma calls him Geordie--stopped short.
'Where are you going, Ida?' he said. 'I hear those children hallooing over there in the little planting. They'll be down upon us in another moment, tiresome things, if we don't get out of the way, and I certainly don't want them just now.'
I didn't either, though I'm very fond of them. But they're _so_ much younger, only seven and eight then, and Dods and I were thirteen and fourteen. And we have always gone in pairs. Dods and I, and Denzil and Esme. Besides, of course, the poor little things were not to be told just yet of the strange troubles and sorrows that had come, or were coming, to us.
So I agreed with Dods that we had better get out of the way.
'Esme is so quick,' I said; 'she'd very likely see there was something the matter, and papa did so warn us not to let them know.'
'Humph,' said Dods. 'I don't think we need worry about _them_. Denzil is as dense as a hedgehog, and as comfortable as a fat dormouse. _He'd_ never worry as long as he has plenty to eat and a jolly warm bed to sleep in. And Esme's just a----'
'A what?' I said, rather vexed, for Esme _is_ a sweet. She's not fat or lazy, and I don't think Denzil is--not extra, for such a little boy.
'She's just a sort of a butterfly,' said Geordie. '_She'd_ never mind anything for long. She'd just settle down for half a moment and then fly up again as merry as a sandboy.'
I could not help bursting out laughing. It was partly, I daresay, that I felt as if I must either laugh or cry. But Dods did mix up his--'similes,' I think, is the right word--so funnily! Hedgehogs and dormice and butterflies and sandboys, all in a breath.
'I don't see what there is to laugh at,' said Geordie, very grumpily again, though he had been getting a little brighter.
'No more do I, I'm sure,' I replied, sadly enough, and then, I think, Dods felt sorry.
'Where shall we go?' he said gently.
'Wherever you like--to the hut, I think. It is always nice there, and we can lock ourselves in if we hear the children coming,' I answered.
The hut, as we called it, was our very most favourite place. It was much more than you would fancy from the name, as you will hear before long. But we did not wait to go on talking, till we got there. The children's voices did not come any nearer, but died away in the distance, so we walked on quietly, without hurrying.
'Ida,' said Geordie after a bit, 'it's dreadful, isn't it?'
'Yes,' I agreed; 'I think it is.'
The first chapter of The House That Grew opens with a family crisis: the father must travel abroad due to unspecified financial trouble. The narrator, Ida, immediately reveals her preoccupation with comparative suffering—'I didn't know which I was the sorriest for—papa or mamma'—a concern her brother Geordie brusquely dismisses. The catalog subjects list 'Conduct of life' and 'Forgiveness' prominently, but the excerpts show a more nuanced emotional landscape: Ida's careful observation of her mother's composure, her brother's gruff affection, and the family's reliance on small kindnesses from near-strangers like Miss Trevor. The story's domestic realism is anchored by specific, tactile details—a borrowed Bath-chair, a gypsy encampment, a bank of pine roots—rather than fantastical elements.
Narrative Voice and Emotional Restraint
Ida narrates in the first person, but her voice is not merely childish. She analyzes her own feelings and those of others with a precision that suggests early maturity under strain. When she asks Geordie if it is worse for those 'left behind,' she is quoting a conventional consolation, yet she immediately doubts its adequacy. The mother's quiet crying—'though that isn't her way at all'—is noted without sentimentality. Molesworth avoids melodrama; the father's cheerfulness is described as 'almost worse than if he had spoken very sadly,' a comparison that relies on the reader's understanding of emotional suppression. The prose is plain but not artless, with short sentences that accumulate weight through repetition of small gestures: a wriggle, a switched hedge, a whispered promise of a talk later.
Setting as Emotional Landscape
The excerpts move between interior and exterior spaces that mirror the family's precarious state. The drawing-room, where the father breaks the news, is a place of constrained emotion; the outdoors offers temporary relief. The sea, viewed from a pine wood, prompts the mother to recall her first meeting with her husband—a story that connects the present crisis to a longer history. The 'Hut' where the family will stay is called a 'gypsy encampment' by the mother, though Ida wishes it were 'a good deal more gypsy.' This tension between romanticized poverty and actual hardship runs through the excerpts. The borrowed Bath-chair, offered by Miss Trevor as a gift rather than a loan, becomes a symbol of dignified acceptance of help. Molesworth uses setting not as backdrop but as a register of the characters' inner lives.
The Role of Minor Characters and Gossip
Miss Trevor, a near-stranger, appears briefly but her actions carry thematic weight. She offers the Bath-chair 'so nicely—as if our taking it would really be doing them a favour,' a phrasing that Ida recognizes as a lesson in gracious receiving. The narrator also reflects on neighborhood gossip: 'people were more ready to exaggerate and talk about other people's troubles than about their good fortune.' This observation, placed in the mind of a child, suggests that the novel is interested in how communities respond to misfortune. The catalog subject 'Forgiveness' may relate to later plot developments not visible in these excerpts, but the seeds of that theme are present in the careful negotiations of pride, gratitude, and social perception that Ida describes.
Readers should attend to the way Molesworth distributes knowledge among her characters. Ida understands more than she admits; her mother reveals stories selectively; Geordie hides feeling behind gruffness. The novel's title promises growth, but the excerpts suggest that growth is measured in small, difficult recognitions—of others' pain, of one's own limitations, of the kindness that exists alongside gossip. The illustrations by Alice B. Woodward, though not reproduced here, likely reinforce the domestic scale of these dramas.
The rain blurred the window while Ida worried about her mother’s quiet tears, and I remembered how gossip once felt like power—until it didn’t. That tension stayed with me, the weight of other people’s words. Somehow it drifted toward Baseball Joe on the Giants; or, Making Good as a Ball Twirler in the Metropolis — Context and Discussion, where proving yourself matters more than what strangers whisper.
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