Cartouche — Key Ideas to Explore

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Peard, Frances Mary, 1835-1923 Project Gutenberg 2013
Dogs -- Fiction; Young women -- Fiction; British -- Italy -- Fiction Readers of public-domain and historical texts
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Edition facts

Words: 85,329
Reading time: 371 min
Text sections: 9
An editorial note on Frances Mary Peard's 'Cartouche', focusing on authorial choices in diction, dialogue, and description, with observations on the dog's introduction, the Florence setting, and character interactions in a sculpture gallery.
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She did this--the more loyally and creditably that she and her brother-in-law never got on well together. It was not that they quarrelled, but that they had little in common. Sir John Ibbetson was a poor squire who farmed his own land, and never seemed to grow any the richer for it; perhaps the truth was, that being haunted by the impression that ill-luck dogged his footsteps, he could scarcely be induced to take any but a gloomy view of whatever concerned him. That Jack's early life was not coloured by such grim presentiments was owing to Miss Cartwright's persistent cheerfulness, which, while a perpetual trial to Sir John, made the home atmosphere healthy for the boy. Few people could have retained their sweet temper and interest in minor matters so thoroughly as she retained them, in spite of constant rebuffs; nor could she ever be talked into taking despairing views of Jack's juvenile naughtinesses, or into foreshadowing future disgrace from his inability or unwillingness to master the intricacies of the Latin grammar. But perhaps her best service both to father and son was in keeping well before the boy his father's actual affection, and thus preventing Sir John's over-anxiety from alienating his son, which might have been a not unnatural result. As it was, the lad grew up high-spirited and perhaps a little wilful, but generous in his impulses, and with a sweet temper which it was difficult to ruffle. He was universally liked at Harrow and Oxford, and, like other men, got both good and bad out of his popularity; but being too lazy for hard work, only scrambled through what had to be done, and grievously disappointed his father, although the latter had never professed to look forward to better things. It might have been owing to this disappointment that Sir John took a step which caused the most lively amazement to Jack, Miss Cartwright, his servants, and, in a lesser degree, to the whole circle of his acquaintances. He announced his engagement to a rich widow.

When the first astonishment had been got over, nobody had a word to say against it except Jack. He disliked it so vehemently as even to surprise his aunt, who, with all her knowledge of him, was unaware how tenderly he cherished the idea--for remembrance it could scarcely be called--of his lost mother, or how much he resented a step of his father's which seemed to prove her to be forgotten. However, though the sore remained, his nature was too sweet not to suffer it to be mollified, although he entirely refused to benefit by the substantial kindnesses which his stepmother--to her credit be it spoken--would willingly have heaped upon him. It seemed, indeed, as if the necessary spur had at last touched his life. He studied for the bar more closely than he had ever done before, was constant in his attendance at the courts, and in his letters to his aunt expressed such an eager desire for her briefs, that if her disposition had not been absolutely peaceful, she might have returned to England on purpose to seek for a lawsuit. As it was, she began to develop what seemed like a sanguinary thirst for crime, reading the police reports in her English papers with less horror at the wickedness there brought to light, than anxiety that something should turn up for Jack.

Sir John's marriage had taken place nearly a year ago, and Miss Cartwright, uprooted from what had been her home for a long series of years, had, partly from old associations, partly to please Jack, and partly because an old maiden friend was bent upon the scheme, determined to make Florence her home for a time. It was the last thing anyone expected from her, but those are just the things which people do. She and Miss Preston had moved to Siena for the summer, and now had come back to the pretty homelike little house on which they had fallen. Miss Preston was the part of the arrangement against which Jack protested in vain. She was tall, hook-nosed, commanding: she did not believe in him; she set her face against weaknesses of all kinds, and considered it her mission to protect Miss Cartwright. When people's worth takes this sort of disagreeable shape, it is astonishing how much more indignation it raises amongst their neighbours than falls to the share of real sinners; and perhaps this was the tie which kept these two--unlike as they were-- together. Miss Cartwright, who looked up to her friend with all her heart, was really filled with a vague and tender pity which Miss Preston never knew. It was she who was the actual protector--smoothing down, explaining, thinking no evil, and making people ashamed of their own.

Then there was Cartouche. Jack had picked him up as a puppy in the South of France, and insisted upon his aunt taking charge of him.

"He will have plenty of room here to run about and get himself tamed down a little," he explained, "whereas in London he would be miserable. You need not trouble yourself about him, he is clever enough to take care of himself and you into the bargain. If you don't really like him I can send him to my fathers, only it struck me he would be just what you want here; what do you say about it?"

He put the question, but would perhaps have been surprised had a third person pointed out how little doubt he felt about the answer. Miss Cartwright would have looked upon herself as a barbarian if she had refused any gift offered her by Jack, and immediately set herself to apply to Cartouche the same hopefulness which she had brought to bear upon her nephew's education. Miss Preston's wrath was great, but there was another power in the house--Winter, Miss Cartwright's maid, and Winter hated Miss Preston. Opposition, therefore, carried Winter to the side of Cartouche, and opposition forms as strong a bond as anything else.

Jack's slumbers were far too sacred in the eyes of his aunt for her to think of disturbing them; she was preparing to retreat carefully, when he looked up and began to laugh.

"I was not asleep, I give you my word."

"Oh, well, my dear," she said, happy again now that the shade on his face was gone, "I am sure it would not have been wonderful if you had dozed off after your journey, though I really don't know where you have dropped from; and I shall be quite glad to sit down and have a long talk, for you know there is a great deal to be told."

"Well, yes, I suppose there is."

But he did not seem inclined to begin, though Miss Cartwright looked wistfully at him. She said presently, with rather a quavering voice, "There is no bad news?"

Just enough of a pause followed her question to make her heart sink, then he said quickly--

"Certainly not. What has come to you, Aunt Mary? You never used to indulge in these sort of fancies. If Cartouche makes you nervous I shall take him away. But I know what it is, Miss Preston has been scolding you for all the wickedness of the world. Even in Florence that woman is as bad as three fogs and an east wind."

And he rattled on with more nonsense of the sort, but it was so evident that he was making talk to avoid some subject closer to each of them, that Miss Cartwright almost grew vexed.

"My dear," she said, "do leave poor Miss Preston alone."

"She won't leave you alone, that is what I complain of. Come now, hasn't she got some unhappy clergyman of whom she falls foul?"

"Well, she did say she thought the new chaplain had too much self-possession for so young a man, and I said I did not think he was so very self-possessed, because when he makes a mistake he always coughs, which obliges one to notice it the more."

"Worse and worse," said Jack gravely; "she's making you as severe as she is herself."

"My dear, you don't really think I was unkind? I am sure I only thought what I could say for the poor young man, she seemed so annoyed about it. You don't really mean it, you are only laughing, and after all there is so much to say."

He jumped up suddenly, and walked a few steps away from his chair. The pretty quiet little garden was full of light and colour and keenly-edged shade; the beautiful glossy leaves stood up against the blue sky. Over the wall they could see other houses and other trees, and catch here and there a little glimpse of the opposite hill with its occasional cypresses. The great bell of the Duomo was clanging, all the glory of the day changing softly into another glory, deeper and more mysterious. Was it of all this of which Jack was thinking? Miss Cartwright followed him and laid her hand gently on his arm.

"My dear boy!" she said imploringly.

He looked round at once and laughed at her pleading face.

"Well, it's all--right, if that's what you want to know."

"I'm engaged, yes, hard and fast. Why," he said, with a quick anxiety in his voice, "what's the matter? Sit down, sit down," he went on, dragging over a chair, and putting her into it very tenderly, for the delicate colour had quite faded out of her face. But she smiled at him the next moment.

"It is very silly of me, but I have been thinking so much about it; and somehow I fancied from your manner that things were not going straight, and I was foolishly anxious."

"You shouldn't care so much about me," said the young man with real remorse; "nobody else in the world would trouble themselves as you do. I should have told you directly, if it had entered my head that you were taking it to heart like this. Let me go and get you a glass of water or sal-volatile or something, you are as shaky as possible."

But Miss Cartwright sat up cheerfully.

"It is nothing at all, Jack; I am quite well again, and your news is the best thing for me, if I really wanted anything. Is it all settled?"

"Yes," he said with a little restraint again, and pulling a magnolia leaf as he spoke. "Phillis is at Bologna with the Leytons, we all came out together. Yes, it is true; I expected it to astonish you."

"Don't tell me anything more for a minute or two," said his aunt gently, putting up her hands; "it is one thing on another. Phillis at Bologna? I don't quite understand."

"But you like the news, don't you?" said Jack, turning suddenly on her.

"Like it! how could I fail? Such a good girl, and all that money, and your uncle wishing it so much. Nothing could be so desirable, only, my dear boy--"

"Sometimes you get odd touches of perversity, and the very fact of a thing being quite unexceptional sets you against it. I remember it so well when you were a boy. It would have been a sad misfortune in this case, though, of course, it is too momentous a matter for me to have said much about it beforehand. I suppose that is the reason you did not know how anxious I felt, but I assure you I have scarcely thought of anything else. And Phillis is at Bologna! When do they come on?"

"To-morrow--Saturday. I don't exactly remember. I suppose you know the terms of the agreement?" said Jack, looking at her.

"Well, it is an agreement," he said perversely; "what else would you call it? I, Peter Thornton, of Hetherton Grange, in the county of Surrey, Esquire, do hereby declare you, John Francis Ibbetson, barrister--how shall I put the London lodgings, second floor, to best advantage?--to be the heir of all my estates and properties--excluding, let us hope, his gout and his temper--on condition that you take as your wife my step-niece, Mary Phillis Grey, to have and to hold with the timber, freeholds, messuages, and other etceteras of the said estate. If that is not an agreement, I don't know the meaning of the word."

Miss Cartwright, leaning forward, tried to look into her nephew's face.

"My dear," she said slowly, "of course you are in joke, but I don't think I like to hear you talk in such a way. I should be miserable if I did not feel sure you were quite happy."

Jack turned round and took her soft hand very kindly in his own.

"Well, then, don't be miserable," he said lightly; "why, you know it stands to reason that every one must be perfectly happy directly he or she is engaged to be married. What shall I do to prove my load of bliss?"

But she shook her head.

"I sometimes fancy it would be better if money were not mixed up with marriages at all. I don't think it was so much thought about in old days."

"It is a stronger necessity now."

"Your father would willingly increase your allowance."

"I don't choose to live on that woman's fortune. Aunt Mary, I thought you would be the first to congratulate me on the splendour of my prospects!"

"My dear, and so I do," she said quickly, laying her hand on his shoulder; "I do, with all my heart. If I ask these questions it is only that I care so very, very much, that I was afraid, Jack, whether you might have rushed into this without quite thinking enough beforehand. But I dare say that was only my foolish fancy. Tell me one thing: if you had not married Phillis would your uncle have left the estates to her?"

"Not he," said the young man, flinging a stone into the bushes where Cartouche was still annoying the cat. "He told me in so many words, that unless I married her she would be penniless, and the money would go to some tenth cousin or so."

"I hope the poor girl did not know this," said Miss Cartwright uneasily.

"He is not the man to keep that sort of pressure to himself."

"Jack, you liked her before there was any talk of these estates?"

He spoke impatiently, as if the subject were already exhausted, whereas Miss Cartwright, longing for fuller details, felt as if it were only beginning.

"I wish I had known Phillis before," she said sighing, and at the sigh the young fellow's heart reproached him again.

"She said the same," he said, turning towards her and speaking gravely; "I fancy you'll get on with her--everybody doesn't, you know. She's-- but there's no good in attempting to describe her, I was never good at that sort of thing; the only thing I could say about you was that you weren't tall or black."

Miss Cartwright brightened. She had a warm corner ready in her kind heart for the girl who was to be Jack's wife; no jealousy made the prospect bitter, she was already planning, welcoming, sympathising. Jack himself jumped up; he said he would go to the hotel where he was putting up and come back to dinner. It was a concession, for he would encounter Miss Preston, but he had not the heart to disappoint his aunt that first evening, and afterwards he acknowledged that it had not been so bad. The window was open, the moon was sailing through blue, profound skies, her light fell like silver on the glossy leaves, and there was a sort of happy hum in the air, distant talk and gay laughter. Miss Preston fell asleep, Jack and his aunt sat near the window, sometimes silent, sometimes chatting. As for Cartouche, he pleased himself in his own way, rushing every now and then into the garden in pursuit of a foe who he was quite conscious did not exist, and returning with the proud air of one who has discomfited his enemy.

As Ibbetson strolled home that night he was thinking of many things, half against the grain, as it were, for he would willingly have put them aside. There were enough outer things to interest him if once he could have got them uppermost, but we cannot do that always, try as we will. The Arno was running along, bright with the moonshine, lights were twinkling across the bridges, clambering up the hill opposite; black shadows stood out strongly, and as you looked, all sorts of strange memories seemed to rush towards you. But they took no real hold on Jack, who was only conscious of them in a vague, dreamy way. The people were strolling in all directions, enjoying the evening, as they do in Italy, chatting, whispering, half-a-dozen, perhaps, linked together, taking the whole breadth of the pathway, or coming mysteriously out of the dark shadowy streets. In front of the Ognissanti a little lamp threw its dim radiance upon the beautiful blue and white Luca della Robbia over the door; the grave and sweet figures in their perpetual adoration seemed nearer and yet more delicate than by day. Jack noted this as he passed, but all the while it was not really Florence in which he was living, but a more homely and pastoral country. He was provoked with himself; he had not wanted to go over the old ground; he had said to himself a dozen times, that having taken a certain step, there was no need for mentally retracing it.

Only something seemed always to be carrying him back.

Would he have had it different? He said No, resolutely, when the question took so keen a shape. He had always felt a quiet liking for Phillis Grey, and it moved him deeply when he heard Mr Thornton's rough declaration that if he, Jack, did not marry her she would be left with no more than a miserable pittance. His uncle, after all, showed some knowledge of the character of the man with whom he had to deal, for the personal advantages did not really affect Jack half so much, although he took pains to assure himself that they did. He used to go over them to himself with a half-comic, half-serious air of business, as if he were quite convinced of their value--independence, position, idleness--the worst of it was that, try as he would, he found each carrying a sort of contradiction with it, which prevented him from enjoying it comfortably. But poor Phillis, how could she bear the loss of everything? Why should he not marry her? He liked no one better, or so well. It was the course which gave the least trouble to everyone. It offered palpable good, and there was no drawback on which he could exactly lay his finger. Jack Ibbetson's mind wandered away, up and down, this way and that, but all the time it was tending slowly in one direction, so that on the evening of the day when his uncle had made his announcement, a walk round the shrubberies and a couple of cigars brought him to the window where Phillis was sitting in her white dress, and when he had asked her to come out, it was not difficult, especially on that quiet tender evening, to ask her to marry him. It was not difficult, it was almost pleasant. There was a tremulous happiness in the girl's answer, and yet all the time Jack was conscious, and hating the consciousness, of what he was saving her from. If it had not been for that, he thought--but there it was, and, after all, was it not one motive?

The novel opens not with a human character but with a dog: 'Cartouche! Cartouche!' The call comes from a young Englishman, but the dog's response—a leap from an upper window—immediately establishes the animal as a force of nature, 'every hair flying out from his body.' This choice foregrounds the poodle as a central figure, and the young man's admonition ('Let me advise you not to try that too often') sets a tone of wry, affectionate concern. The narrative voice is precise about setting: Florence is described with 'mellow and golden effect' on plaster, and the heat is palpable in the 'hot and languid glow' on violet-tinted hills. The author uses concrete details—green shutters, striped awnings, the shelter of the Ponte Vecchio—to ground the story in a specific time and place.

Diction and the Dog's Character

The author's diction when describing Cartouche is energetic and physical. The dog 'broke into the most extravagant demonstrations of welcome,' and his movements are rendered with verbs like 'leaping,' 'rushing,' and 'streaming.' The young man's speech to the dog is colloquial and direct: 'I understand what all that means, old fellow.' This contrast between the dog's wildness and the man's measured tone creates a dynamic that recurs throughout the excerpts. The dog's actions drive the narrative forward, and the author uses him as a catalyst for human interaction. Notably, the dog's leap is treated as a matter-of-fact event, not a marvel, which suggests a world where animals are integral to daily life. The poodle's 'small eyes gleaming from a dishevelled tangle' and 'long tongue hanging out' are precise observations that avoid sentimentality, grounding the character in physical reality.

Voice and Dialogue in the Florence Setting

The dialogue in the excerpts reveals character through tone and rhythm. The young Englishman speaks with a blend of seriousness and dry humor: 'It is just as well for you that the house is not a trifle higher.' The author uses indirect speech for the dog's 'answer'—a 'vigorous bound'—which anthropomorphizes without overdoing it. In later excerpts, dialogue becomes more charged. When Bice says, 'Don't talk of it,' and shudders, the author uses a 'leisurely tone' for Ibbetson and a 'fixed mechanical gaze' for Bice. The contrast between Ibbetson's calm and Bice's agitation is sharpened by the setting: a sculpture gallery with 'cold and changeless' statues. The author's choice to have Bice stretch her hands to a brazier 'full of grey or glowing embers' emphasizes her need for warmth and colour, both literal and emotional.

Description and Emotional Subtext

Peard's descriptive passages carry emotional weight through careful selection of detail. In the sculpture gallery, Bice's terror is conveyed not through internal monologue but through physical reactions: 'she started and caught Jack's arm' with 'fingers trembling.' The author uses the setting to mirror her state: the 'white statues' and 'grey or glowing embers' create a palette of cold and heat. When Bice withdraws her hand 'colouring crimson,' the blush is a rare moment of direct emotional revelation. The author avoids explaining her fear; instead, the narrative focuses on Ibbetson's response—'a warm impulse of kindness' and 'a little curiosity.' This restraint leaves the reader to infer the cause, trusting the description to carry the subtext. The phrase 'all sorts of fancies went rushing through her heart' is as close as the author gets to interiority, preferring external action and dialogue.

Structure and Pacing in the Excerpts

The excerpts show a careful control of pacing. The opening scene moves from the call to the dog's leap to the man's reaction in quick succession, establishing energy. Then the narrative slows with descriptive passages about Florence's heat and architecture. Later, in the gallery, the pace shifts again: Bice's sudden terror and the subsequent investigation of the stranger create a moment of suspense. The author uses short sentences for action ('She drew a deep breath') and longer ones for reflection ('It seems sometimes as if the world was made up of cross-purposes'). This variation keeps the reader engaged. The excerpts do not resolve the mystery of the stranger, but the author provides enough detail—the 'fixed mechanical gaze,' the 'terrified undertone'—to suggest that the incident has significance beyond the immediate scene.

Readers attentive to authorial choices will notice how Peard uses the dog as a narrative device to introduce characters and set tone, how she embeds emotional states in physical description, and how she withholds interiority in favor of observable behavior. The Florence setting is not merely backdrop but an active element, with heat and light affecting characters' moods. The excerpts suggest a novel that rewards close reading of its language and structure, rather than one driven by rapid plot advancement.

Reading the editorial notes on Cartouche, I was struck by how quietly Peard lets Florence unfold through small gestures rather than grand scenery. It reminded me of sitting with Cressy & Poictiers — A Closer Reading last autumn, noticing how that, too, preferred a lingering glance over a sweeping statement. Both feel less like histories and more like letters, gently asking me to pause a while longer.

Noah Rodriguez
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