Left at home — A Reader’s Guide

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Code, Mary L. (Mary Louisa), 1849-1873 Project Gutenberg 2007 Not confirmed
Christian life -- Juvenile fiction; Children -- Conduct of life -- Juvenile fiction; Children -- Religious life -- Juvenile fiction; Home -- Juvenile fiction Readers of public-domain and historical texts
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Edition facts

Words 38,845
Reading time 169 min
Text sections 5

The source record for Left at home — A Reader’s Guide measures this digital text at 38,845 words, 2 hr 49 min estimated reading time, and 5 detected text sections.

The text analysis averages about 18.5 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 “Christian life -- Juvenile fiction,” connecting these edition facts with the source record’s subject description.

In Mary L. Code's 'Left at Home', Arthur's parents sail to India, leaving him at Ashton Grange. The catalog subjects emphasize Christian conduct, but the excerpts reveal a child's raw anxiety, a mother's intimate letter, and a narrative that dwells on interior states more than moralizing.
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Editorial Edition Score 4.7/5

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  • 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.

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CHAPTER I. Page LITTLE MILDRED 7

CHAPTER II. GOING TO INDIA 16

CHAPTER III. ARTHUR'S MOTHER 26

CHAPTER IV. LAST DAYS AT ASHTON GRANGE 30

CHAPTER V. THE PARTING 44

CHAPTER VI. MYRTLE HILL 47

CHAPTER VII. LEFT ALONE 60

CHAPTER VIII. EDGAR NORTH 79

CHAPTER IX. MIDSUMMER HOLIDAYS AMONG THE MOUNTAINS 108

CHAPTER X. AT REST NOW 114

CHAPTER XI. CONCLUSION 140

LITTLE MILDRED, OR THE GATHERED LAMB.

"Stop, Mr. Arthur, if you please. You are not to go upstairs. Mistress left orders for you to stay in the library until she came down."

So spoke the younger servant at Ashton Grange, as Arthur rushed upstairs three steps at a time.

"Why, what's the matter? Why shouldn't I go upstairs? Is anything the matter?"

"I don't know, Mr. Arthur, whether there is much the matter; but I am afraid Miss Mildred is ill. The doctor is upstairs, and mistress said there is not to be a sound of noise."

These words quite sobered Arthur, as he turned from the stairs and went into the library. It was a pleasant room at all times, but especially so on a winter's evening, when the frosty night was shining clear and cold without. A bright fire was blazing, lighting up the crimson carpet and curtains, and sparkling on the snowy table-cover, where preparations for such a tea were made as Arthur was usually at this time prepared to appreciate. But as he sat down on the rug, and, holding his face in his two hands, gazed earnestly into the fire, he was not thinking of his hunger. A very grave expression was on his boyish face. He was thinking of what the housemaid had told him, and wishing very much to know more.

"Why, what can be the matter with baby?" he thought. "She was all right when I went out. She can't be so very bad, I should think, all in a minute. No; I don't believe she is. I'm hungry."

And Arthur started up, and came nearer the table, intending to help himself to something. But then he stopped, and thought again--

"I suppose she is though, or else the doctor wouldn't be here, and every one wouldn't have to be so quiet. Oh, dear, I wish mother would come. I wish she would come. I do wish very much she would come."

Then he thought of creeping quietly upstairs, and listening outside the nursery door; and the temptation to do so was very strong; but he remembered his mother's injunction, and sat down again on the rug. But it was very hard to wait. It would have been a great deal easier to Arthur to do almost anything else just then. One half hour and then another passed, and no sound came to break the stillness which was in the house, till Arthur's head dropped on his hand for weariness, and in a few minutes he was fast asleep. How long he remained so he hardly knew; but he did not wake until a gentle step came on the stairs. The door was softly opened, and Arthur's mother entered the room. She was very pale, and had a sad, sad look on her face, and just sank wearily down in an easy-chair, on the opposite side of the fireplace to her little boy, who was wide awake now.

"Oh, mother, is it true what Anna says about Mildred, that she is so very ill?" asked Arthur breathlessly. He had come nearer to his mother, and, leaning his chin on her knee, he looked eagerly up in her face.

"Yes, Arthur;" and the hand that was pressed on his forehead to stroke back his brown hair was hot and trembling.

"_Very_ ill?" asked Arthur again. "Why, she was a right just after dinner. She will get better, won't she, mamma?"

"Mildred is very, very ill, dear Arthur," his mother said gently. "I came to tell you myself, darling, because I knew you would be wanting to know. She has been attacked with croup very violently indeed, and the doctor does not give me any hope that she will live. I cannot stay with you, my darling boy."

The opening scene of Left at Home does not begin with a lesson in Christian conduct, but with a boy's hunger and worry. Arthur, rushing upstairs, is stopped by a servant: his baby sister Mildred is ill, the doctor is above, and he must wait in the library. The frosty night, the blazing fire, the snowy table-cover—these domestic details anchor the story in sensory, everyday life. The catalog subjects list 'Christian life' and 'Children – Religious life' as primary themes, yet the first chapter's tension is not doctrinal but emotional: Arthur's struggle to obey his mother's injunction, his weariness, and his falling asleep on the rug. The religious framework emerges gradually, embedded in a mother's letter rather than in direct instruction.

A Mother's Voice Across the Sea

The most sustained religious passage in the excerpts is not a sermon but a letter from Arthur's mother, written aboard ship to India. Her voice is intimate and concrete: she describes rough weather, sea-sickness, the 'creaking and straining noises' of the steamer, and her relief that Arthur is safe on land. The letter's piety is woven into physical detail—'the stars that look down on you in your peaceful English home'—and into the mother's own vulnerability. She tells Arthur she has submitted to God's will, but the submission is framed as a choice made from love, not duty. The catalog subject 'Children – Religious life' is present, but the excerpts show religion as a relationship expressed through a parent's longing, not a set of rules.

Waiting and the Weight of Silence

The narrative repeatedly returns to the act of waiting. Arthur waits in the library for news of his sister; later, he waits for letters from his parents. The prose slows to match his stillness: 'One half hour and then another passed, and no sound came to break the stillness.' This patience is not presented as a moral achievement but as a difficult, almost physical burden. The catalog subject 'Children – Conduct of life' might imply a didactic focus on behavior, but the excerpts emphasize interior experience—Arthur's temptation to creep upstairs, his 'very grave expression,' his wish that his mother would come. The conduct being shaped is not outward obedience but an inner discipline of trust, learned through absence.

Setting as Emotional Landscape

Ashton Grange is described with care: the crimson carpet, the bright fire, the snowy table-cover. These details create a haven of comfort, yet the house is also a place of separation. The mother writes of 'the old home' from which Arthur is now parted, and the contrast between the warm English interior and the 'broad, wide ocean' is sharp. The catalog subject 'Home – Juvenile fiction' is accurate, but the excerpts complicate the idea of home. For Arthur, home is both the physical Grange and the absent presence of his parents. The narrative uses setting to externalize emotion: the frosty night, the quiet house, the letter read by firelight. Home is not a stable refuge but a place where love is felt through memory and hope.

Readers approaching Left at Home through its catalog subjects may expect a straightforward moral tale. The excerpts suggest a more nuanced work, one that uses a child's limited perspective to explore themes of separation, trust, and the slow work of waiting. Pay attention to the physical details—the fire, the letter, the silence—as they carry much of the emotional weight. The religious language is present, but it is always tied to a specific, human voice.

Some evenings I think of Arthur at Ashton Grange, all that childhood watchfulness. It reminds me of another kind of waiting, the young man in The Boy Broker; Or, Among the Kings of Wall Street — A Closer Reading, who also stands alone in a world of adult transactions. Both stories feel less like adventure and more like a quiet holding of breath.

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