A Woman Martyr — Background and Themes
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displeased expostulation from her uncle, a deprecatory word or two in favour of Vansittart as her squire on the part of Lady Thorne; and Joan, desperate, capitulated, feeling unequal to being focussed by all the pairs of eyes around the table. She went upstairs to change her habit and hat for one more suited to the muddy suburban roads, and presently found herself trotting northwards on her spirited grey mare Nora, Vansittart at her side.
She had chosen Nora, she coldly remarked--she meant to be an icicle to Vansittart, it was her only chance--because she "wanted a good gallop," and Nora had not been out that day. And as soon as the young mare had frisked and capered through the suburbs in a manner which made Vansittart somewhat anxious, and effectually prevented conversation, she and her mistress bounded off in a canter, and literally tore along the soft roads, startling the few pedestrians and drivers of tradesmen’s carts, Lord Vansittart’s horse galloping after, and the groom scampering in the rear to keep in sight of the pair. Joan only slackened speed for more than a few moments when she saw the row of cottages where old Mrs. Todd lived, at the foot of the wide sloping road that wound downhill.
"There is the cottage," she said, pointing with her whip. "The poor old soul who lives in it loves me best in the world, and I think I return it with interest! She was my nurse when I was a child, helped my mother nurse my father through his long illness, then nursed her to her death, and only left me because she felt too helpless to be of any use!"
"And now you make her life happy by seeing her now and then," he said, gazing passionately at the pure, white, girlish profile under the felt hat.
"She can hardly be happy--doubled up with rheumatism, lonely, poor--it is ridiculous to suggest such a thing!" she said, disgustedly--then, touching Nora’s flank lightly with her heel, she rode off; he followed, springing down to assist her to alight. But she frowned at him.
"You had better hold her, please," she suggested. "Where is that groom of mine? Oh, there he is! I shall be quite half an hour. You might inspect the neighbourhood."
"Thanks for the suggestion, perhaps I shall!" he good humouredly returned, with a scrutinizing glance at a stern old face framed by the cottage window panes, which disappeared as he looked; and as Joan slipped nonchalantly off her panting steed and went within, congratulating herself upon having furnished herself with a good chance of losing or evading him and returning alone, he decided to remain well out of sight of the cottage, but only where he could keep his eye on the groom and the horses.
"Well, Nana, here I am, you see," said Joan, entering and embracing the worn old crone who stood leaning on her stick in the middle of the kitchen and parlour combined. It was a dark, low room, filled with some old-fashioned furniture--remnants of Joan’s vicarage home. A big old arm-chair stood by the fireplace, where there was a bright little fire, although in a few weeks it would be midsummer. "Sit down at once!" She led her gently back to her chair. "Poor old dear! You have been bad this time, haven’t you? You mustn’t spare the doctor--send his bill to me! You got that chicken panada and jelly? That’s right! I’ve brought some money for little things----"
"Never mind money, dearie! but tell me who’s the gentleman?" said the old woman, whose large, shining eyes shone living in her emaciated, deathly face--shading her eyes with her skinny, clawlike hand, and gazing anxiously at Joan, who had drawn a low folding chair near and was seated opposite the fire. "I like his face, that I do! I saw him as you got down from your horse."
"It is Lord Vansittart," said Joan, frowning slightly.
The old woman bent forward, and scrutinized her nursling’s expressive features.
"You like him?" she suddenly asked. "Oh, if you do, may the Lord be praised!"
Joan gave a bitter, hopeless laugh.
"What good would it do me if I did?" she mournfully said.
"What good?" The aged crone leant forward and clasped Joan’s gauntleted wrists with her dark, clawlike hands. "Oh, my blessed darlint! If you could only be married--to a real gentleman like him--and would forget all about that business, and that wretched chap, I should die happy, that I should! You have forgot him, haven’t you, dearie?"
Mrs. Todd gazed anxiously at Joan’s gloomy, miserable, yet most beautiful eyes. There was a far away look--a look of mingled dread and aversion, as if beyond all, she could see some loathsome, terrible object.
"Forget the curse of my life?" she bitterly exclaimed. "For, while I do not know where he is, if he is alive or dead, my life is accursed.... How dare I--love--care for--any good man, saddle any one’s life with my miserable folly, confess to any honest person my--my--association with _him_? Why, I blush and groan and grovel and tear my hair when I think of it, and if my uncle knew-- Heavens! he might curse me and turn me out of doors and leave me to starve! He does not love me as if I were his own child, I know that--how can he when he was at daggers drawn with my father all those years? And auntie, kind though she is, she is only his wife--she is good to me because he wishes her to be! They are only pleased with me because I please in society--people like me, like my looks--if they knew--if they knew--oh! my God!"
She clasped her hands over her face, and writhed. The old woman’s features worked, but her brilliant, unearthly eyes were riveted firmly on her darling.
"You were once a great fool, dearie! But don’t ’ee be a fool now, never no more," she said, sonorously, solemnly. "There was summat you once used to say, poetry, when you was home from school--it did go right down into my heart like a bullet dropped into a well--summat like ’a dead past oughter bury its dead.’ Can your uncle, or your aunt, or this lord who loves you, or you, or me, or the finest parson or king or pope or anything or body in this world, bring back one single blessed minnit, let alone hours or days? That’s where common sense comes in, as your dear dead par used to say to me often and often! No, you can’t bring it back, nor he can’t! It’s dead! He’s dead--that brute--and if he ain’t dead to you, he can’t worry or annoy you, bein’ in prison if he’s alive, as a fellow of his sort is safe as sure to be----"
"Hush! For Heaven’s sake, Nana, don’t talk like that!" Joan trembled, and glanced a despairing, furtive glance out of the window--above the pots of arums, and prickly cactus, and geranium cuttings, where the long, attenuated tendrils of the "mother of thousands" in the wire basket dangled in the draught. Much and often as she thought of her past, that secret past which only this faithful old soul really knew the facts of, she felt as if she could not bear it put into words.
"Who’s to hear? The girl’s out!" exclaimed the old woman, who was roused, excited. Her nursling’s troubles, the obstacles to her becoming a great lady, were to her the worst trials of her suffering, lonely life.
"I tell you this, dearie, if you won’t have anything to do with that splendid lord who loves you, and you say you like, I shall think you hanker after _him_--that viper who ain’t fit to live, let alone to black that noble gentleman’s boots! What--you don’t? Then what should stand between you and him as loves you? That--that nonsense of that fellow’s? What do it matter if he’s dead, or in prison? It’s four years ago, ain’t it? If you are so partickler, you could wait another three, and then he wouldn’t have any sort of claim upon ye, if he has any now, which I doubt! He was humbuggin’ of you, dearie! I’m not to talk about it? I must! I can’t die happy till I know ye’re safe with a good man as’ll take care of ye, my pretty, and that’s a fact. And I am sick and tired of all these aches and pains, it’s such a weary world! Now, my dearie, when he asks ye to be his’n, and he’ll do it, too--ah! I can see he’s done it a’ready--just you listen to him. Be engaged as they call it, secret-like, for a time. Then don’t go and tell him about all that which is dead and done with--never tell living soul a word about _that_! But let him think it’s one of the whimsies beauties like you are supposed to have. Make him wait! And then--find out what’s become of _him_! I’ll help ye! I’ll help ye!"
"You--you have heard--from--of him!" gasped Joan, wildly. "Nana! When! How?"
"Gawd is my witness, I’ve never set eyes on him, the vagabond, since ye showed him to me that day when he came with us in the fields, five year ago, when you was at school, and your poor mar was nearin’ her end," she said, solemnly. "Letters? Not likely! You’ve had a letter from ’im? No, I knew you couldn’t ’ave had. Them convicts--hush? All right, then! If you’ll listen to me, I’ll hush and welcome."
When Joan rose to go a few minutes later, her thoughts were in a frantic whirl, but there was a gleam of hope shining upon those dismal memories which stood between her and happiness.
Still she glanced round as she issued from the cottage, hoping that her escort would not be in sight, and they would happen to miss each other. She wanted time to think, to ponder over new possibilities suggested by her old nurse’s words, possibilities which seemed to her, numbed by her long battle royal to overcome her passion for Vansittart, too magnificent ever to become probable. And she mounted, and after a pretence of waiting about for him as they walked their horses slowly uphill, she said to her groom, "We had better go on, Simms," and quickening her pace, was presently trotting homewards.
But Vansittart was calmly awaiting them at the cross roads, and reined round and accompanied her as a matter of course. She gave him a desperate glance as their eyes met, and it caused him to change his tactics. He had meditated an onslaught upon her emotions during their homeward ride. "It will keep," he sagely told himself, and after an uneventful canter and a little ordinary small talk he left her at her door without even an allusion to a next meeting.
She went to her room somewhat heavy-hearted. She was no woman of the world, and was taken aback by his unexpected change of manner. Her maid Julie was busy with a charming _toilette de bal_ just arrived from Paris: a gauzy robe over satin, richly sewn with flowers and foliage made of tiny seed pearls.
"This will suit mademoiselle _a merveille_," exclaimed the little Frenchwoman. "And with that pearl _garniture_----"
"I shall not go out to-night," she said, with a disgusted glance at the finery which seemed such hollow mockery. And as soon as she had changed her habit for a tea-gown, she locked herself in her boudoir, and stormily pacing the room, asked herself what this sudden chill in her lover meant.
"I have gone too far--I have been too cold--I have lost him!" she told herself, wildly. "I cannot bear it! While there was the faintest of faint hope left--that I might be with him some day--I could bear--everything! But to see him look at me as if I were anybody, speak as if he did not care what became of me--no, no, I should soon go mad!"
Flinging herself prone on her sofa, she clasped her throbbing head in both hands, and asked herself passionately what could be done.
"I cannot, must not, lower myself by writing to him--and then, if he was the same again, I could not take advantage of it! Was ever poor wretched girl in such a miserable position as I am?"
All seemed hopeless, gloomy, dark, until a sudden thought came like a brilliant flash of light.
"He may be there, he will be there, to-night! Of course, he is a friend of the Duchess," she told herself. "That is what it meant! He knew we should meet there! He was teasing me--trying me!"
The suggestions comforted her as she rang, told Julie she had changed her mind, and would go to the ball; and she subsequently dined with her uncle and aunt, who seemed in exceedingly good spirits. (Sir Thomas’ pet project was that Lord Vansittart should marry Joan, and he augured well from his appearance at this juncture, and went through the ceremony of dressing with a certain amount of patience.) When she stood before her long glass, with all the electric lights switched on, and saw herself in her gleaming white and shining pearls, tall, queenly, fair, with the glistening wreaths of golden hair crowning her small head, and her lustrous brown eyes alive with that peculiar, unfathomable expression which had gained her the epithet "sphinx-like" more than once when she was discussed as the Beauty who meant to flout every Beast that approached her, and did--she felt comforted. Only when she was shut into the carriage, her aunt prattling platitudes, and the flickering street lamps flashing stray gleams into the dimly-lit vehicle as they drove along, was she seized with a sudden panic.
"I feel as if--if he does not come--I shall break down, utterly--I shall not be able to bear my life any more!" she told herself, despondently. "I shall end it all--no one will care! There is only old Nana, who is barely alive, and she would follow me at once!"
The Duke of Arran was a man of ideas--and he lived to carry them out. The balls and entertainments at Arran House were always unique. That evening was no exception. As Joan alighted, and passing through the hall accompanied Lady Thorne through the vestibule and up the wide staircase, even she felt transient admiration. White and gold everywhere was the rule to-night at Arran House, where the famous marble staircase had been brought from an old Venetian palazzo. This evening’s decorations were carried out in gold-yellow; after the gardens and houses had been denuded of gold and white flowers to the disgust of the ducal gardeners, the London florists had been commissioned to supply the banks and wreaths and festoons of gold and white blossoms which everywhere met the eye, perfumed the atmosphere, and made a fitting background for the large staff of tall, handsome powdered men-servants in black velvet and satin liveries, which was augmented to-night into a very regiment.
One sickening glance round the magnificent ballroom, full of delicately-beautiful toilettes, bright with flowers, lights, and laughter, gay with the music of a well-known band--told her Vansittart was not there. However, she maintained her composure--he might yet come--and with her usual chilly indifference allowed her few privileged friends to inscribe their initials on her tiny tablet. New partners she declined, with the plea of fatigue. But it was weary work! She was just telling herself, fiercely, that she could bear no more; she was seeking Lady Thorne to implore a retreat, when she came upon Vansittart talking pleasantly to her aunt in a cool corner.
"I was waiting for you," he said, looking into her eyes and reading in them that which fired his blood. "You will give me this dance?"
"Yes," she said, and she accompanied him, meek, silent, subdued, and allowing him to encircle her slight waist with a firm, proprietory clasp, glided round and round to the dreamy melody of the "Bienaimée" valse. Once before, when she had first longed for his love, and felt the throes of this overwhelming life-passion, they had danced together to that swaying, suggestive melody. He remembered it--remembered how to feel her slight form almost in his embrace had urged him into a reckless avowal of a love which was promptly rejected. He set his teeth. He was at a white heat again--and she--? By some subtle sense he believed his moment had come.
"I must speak to you," he hoarsely said, as they halted, Joan white and breathless with emotion. "May I?"
She looked up into his eyes, and at the intensity of the appealing, passionate abandonment to his will in that gaze, he thrilled with triumph.
"We will go into the Duchess’s boudoir, I know we may," he said, feeling a little giddy as he escorted her along a corridor and through the drawing-rooms. The boudoir was empty--one or two couples only were seated in the adjacent anteroom, he saw at a glance they were well occupied with their own flirtations. He closed the door, drew the embroidered satin portiére across--they were alone in the dimly-lighted room.
He turned to her as she stood gazing at him, pale, fascinated. He took her hands. "Joan!" he said--then, as he felt her passion, he simply drew her into his arms, and stooping, kissed her lips--a long, passionate kiss.
To feel his lips on hers was ecstacy to her--for a few moments she forgot all--it was like heaven before its time. Then she feebly pushed him away, and gave a low moan.
"Oh! what have I done?" she wailed, and she glanced about like a hunted creature. "How could you?"
"You love me! What is to keep us asunder?" he hoarsely cried. As she sank shuddering, gasping, into a chair, he fell at her knees, and embraced them. "I am the happiest man on earth! For your uncle will approve, and you--you, Joan! All that was wanted was your love to make you my dear--wife!"
"Wife!" She sank back and groaned. "I shall never be any man’s wife!" she said. "Why? Because I do not want to be! That is all! Because I never shall and will be!"
Was she crazy? He rose, slowly, and contemplated her. No! There were anguish and suffering in the lines about her mouth and eyes--in those lustrous, strained brown orbs--but no insanity.
"We must talk it all over. I must--I mean, I may see you to-morrow, may I not?" he gently said, drawing a chair near, and seating himself between her and the door, he besought at least one interview, so that they should "understand each other." He had but just obtained a reluctant consent to a _tête-à-tête_ on the morrow, when the door suddenly opened, a gay young voice cried, "surely there can’t be any one in here!" and a bright face peeped round the curtain and at once disappeared.
"Lady Violet!" exclaimed Joan, starting up. "She has seen us!"
"And if she has?" asked her lover, mystified by her terror at having been discovered alone with him by the Duke’s eldest daughter. Still, with the promise of an elucidatory interview, he obeyed her wishes, and left her to return to the ballroom without his escort.
She did not linger: she almost fled, scared, from the boudoir through the drawing-rooms, into the corridor. Which way led to the ballroom? Hesitating, glancing right and left, she saw one of the picturesque black-clad servitors coming towards her. She would ask him.
As he advanced, the man’s face riveted her attention. Not because of its wax mask-like regularity, and the intent, glittering stare of the black eyes which fixed themselves boldly upon her own; but because the countenance was singularly like one which haunted her memory--waking and sleeping--the hideous ghost of her foolish past.
"Heavens--how terribly like him!" she murmured to herself, unconsciously, involuntarily shrinking back against the wall as he came near.
Like! As the man came up, and halted, she gave a strangled cry like the pitiful dying wail of a poor hare.
The novel opens in London's Hyde Park during a sharp shower, where a young woman on horseback, with a 'pale, classic face' and 'Venetian combination of dark brown eyes and red-gold hair,' anxiously scans the riders. Her internal conflict—between longing for Lord Vansittart and her own refusal of his offer—is rendered through physical gestures: biting her lip, a slight frown, and a 'wild, almost uncontrollable impulse' to speak to him. Diehl's prose dwells on the tension between outward composure and inner turmoil, a pattern that recurs throughout the excerpts.
Diction of Restraint and Intensity
Diehl's word choices oscillate between formal restraint and emotional intensity. In the opening scene, the heroine's feelings are described as 'dismay, mingled with involuntary ecstacy'—a precise pairing that captures conflicting states. Later, the nightmare sequence uses stark, physical language: 'strapping her with small leathern straps which hurt her,' and the dry reply, 'it will be over all the sooner.' The contrast between the polished society dialogue and the raw terror of the condemned cell is sharp. Diehl avoids melodramatic exclamation; instead, she lets the horror accumulate through matter-of-fact details, such as the tolling bell and the 'gleam of a white surplice.'
Voice and Dialogue: The Weight of Unspoken Words
Dialogue in the excerpts is sparse but loaded. The heroine's plea, 'oh, please don't,' is a fragile, childlike protest against the straps, while the executioner's dry response underscores the machinery of justice. In the trial scene, the judge's speech is formal and damning, using phrases like 'incontrovertible evidence of trustworthy witnesses' and 'your misguided and guilty life.' The heroine's own voice is often internal: she asks herself, 'Did he see me?' and later exclaims, 'You know, my God, I did not mean it!' These interior monologues reveal a character who is articulate in thought but often silenced in action, creating a tension between what is said and what is felt.
Structure: The Nightmare as Narrative Pivot
The most striking structural feature in the excerpts is the extended nightmare sequence, which occupies a full chapter. It begins with the trial and sentence, then shifts abruptly to the condemned cell, where the heroine is bound and led to execution. The awakening—'bathed in sweat from head to foot'—is a release, but the lingering fear that 'it might come true' anchors the novel's psychological stakes. This dream-within-a-narrative device allows Diehl to explore the heroine's guilt and fear without committing to a literal execution, and it mirrors the earlier scene of emotional paralysis in the park. The structure thus reinforces the theme of entrapment, both social and psychological.
Setting: Theatrical and Social Spaces
The excerpts move between three distinct settings: the public arena of Hyde Park, the private terror of the condemned cell, and the backstage world of the theatre. The park scene is meticulously observed—'sycamores and elms,' 'horse-chestnut tree,' 'equestrians in the Row'—and serves as a stage for social performance. In contrast, the theatrical setting in Chapter XX introduces Vera Anerley, an actress whose professional life involves 'fervour' and 'access of passion.' The backstage negotiations with the stage-manager and the dismissive attitude toward the dramatic critic hint at the compromises of artistic life. These settings are not mere backdrops but active forces that shape the characters' choices and constraints.
Diehl's novel rewards attention to the interplay between public facades and private fears. The excerpts suggest a narrative that moves between drawing-room decorum and the stark reality of the dock, using precise diction and controlled dialogue to build suspense. Readers may find particular interest in how the nightmare sequence functions as a compressed version of the plot's central anxieties, and how the theatrical subplot mirrors the theme of performance in everyday life.
I’ve often thought the trial in A Woman Martyr holds its breath the way we did waiting for verdicts in the old reading room. That same hush of moral reckoning seems to linger, somehow, inside Master of Men — Themes and Context, though its questions turn toward ambition rather than love. Two novels, one quiet kinship across the shelf.
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Lisa Jones - 1 week ago
I struggled with 'A Woman Martyr'. It is overly long and preachy, with flat characters and a predictable plot. The constant moralizing gets tedious and the protagonist's martyrdom feels romanticized rather than realistic. The book lacks nuance and the prose is often dense. I found it hard to stay engaged and would not recommend it unless you're a huge fan of that era's literature. -
Jacob Nelson - 1 week ago
'A Woman Martyr' offers a compelling look at a difficult subject with thoughtful writing and well-drawn characters. The historical context is interesting and the themes are significant. However, the pacing is slow in places and the philosophical debates can be a bit heavy. Still, for those interested in the moral dilemmas of the era, it's a worthwhile read. -
David Robin Holland - 6 days ago
A poignant and powerful exploration of sacrifice and conviction. 'A Woman Martyr' is a beautifully written novel that captures the inner turmoil of a woman who must choose between her beliefs and her life. The author's prose is lyrical and the emotional depth is profound. I was moved to tears at times. This is a classic tale of faith and courage that remains relevant today. Highly recommended.
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Benjamin Moore
3 weeks ago