Little Grandmother — Edition Insights
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This digital edition of Little Grandmother — Edition Insights is described by source-level measurements including 28,749 words, 2 hr 5 min estimated reading time, and 4 detected text sections.
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Project Gutenberg metadata also associates the work with “Christian life -- Juvenile fiction,” connecting these edition facts with the source record’s subject description.
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Read the Text
I believe I will tell you the story of Grandma Parlin's little childhood, as nearly as possible in the way I have heard her tell it herself to Flyaway Clifford.
Well, then, Grandma Parlin, her face full of wrinkles, lay in bed under a red and green patchwork quilt, with her day-cap on. That is, the one who was going to be Grandma Parlin some time in the far-off future.
She wouldn't have believed it of herself now if you had told her. You might as well have talked to the four walls. Not that she was deaf: she had ears enough; it was only brains she lacked--being exactly six hours old, and not a day over.
This was more than seventy years ago, little reader, for she was born on New Year's day, 1800,--born in a town we will call Perseverance, among the hills in Maine, in a large, unpainted house, on the corner of two streets, in a bedroom which looked out upon the east.
Her mother, who was, of course, our little Flyaway's great grandmother, lay beside her, with a very happy face.
"Poor little lamb," said she, "you have come into this strange world just as the new century begins; but you haven't the least idea what you are undertaking!--I am going to call this baby Patience," said she to the nurse; "for if she lives she will have plenty of trouble, and perhaps the name will help her bear it better."
And then the good woman lay silent a long while, and prayed in her heart that the little one might grow up in the fear of the Lord. She had breathed the same wish over her other eight children, and now for this ninth little darling what better prayer could be found?
"She's the sweetest little angel picter," said Siller Noonin, smoothing baby's dot of a nose; "I guess she's going to take after your side of the house, and grow up a regular beauty."
"We won't mind about looks, Priscilla," said Mrs. Lyman, who was remarkably handsome still. "'Favor is deceitful, and beauty is vain; but the woman that feareth the Lord shall be praised.'"
"Well, well, what a hand Mrs. Lyman is for Scripter," thought Siller, as she bustled to the fireplace, and began to stir the gruel which was boiling on the coals. Then she poured the gruel into a blue bowl, tasting it to make sure it was salted properly. Mrs. Lyman kept her eyes closed all the while, that she might not see it done, for it was not pleasant to know she must use the spoon after Priscilla.
The gruel was swallowed, Mrs. Lyman and the baby were both asleep, and the nurse had taken out her knitting, when she heard some one step into the south entry.
"I wonder who that is," thought Siller; "it's my private opinion it's somebody come to see the new baby."
She knew it was not one of the family, for the older children had all gone to school and taken their dinners, and the two little ones were spending the day at their aunt Hannah's. Now it was really no particular business of Siller Noonin's who was at the door. Squire Lyman was in the "fore room," and Betsey Gould, "the help," in the kitchen. Siller was not needed to attend to callers; but when she was "out nursing" she always liked to know what was going on in every part of the house, and was often seen wandering about with her knitting in her hands.
As she stole softly out of the bedroom now, not to waken Mrs. Lyman, she heard Mr. Bosworth talking to Squire Lyman, and was just in time to catch the words,--
"The poor General! The doctors couldn't do nothing for him, and he died."
"Not _our_ General?" cried Siller, dropping her knitting-work.
"Yes, George Washington," replied the visitor, solemnly.
Siller leaned back against the open door, too much excited to notice how the cold air was rushing into the house. "General Washington! When did he die? and what was the matter of him?" gasped she. "Speak low; I wouldn't have Mrs. Lyman get hold of it for the world!"
"He died a Saturday night, the fourteenth of last month, of something like the croup, as near as I can make out," said Mr. Bosworth.
Squire Lyman shook his head sorrowfully, and put another stick of wood on the fire.
"Mrs. Noonin," said he, "will you have the goodness to shut that door?"
The story begins not with a grandmother but with a newborn: Patience Lyman, born on New Year's Day 1800 in a town called Perseverance, Maine. Sophie May frames the narrative as a tale told to Flyaway Clifford, with the infant who will one day become Grandma Parlin lying under a red and green patchwork quilt, “exactly six hours old, and not a day over.” Her mother names her Patience, predicting trouble ahead, and hopes the name will help her bear it. The opening establishes a dual perspective—the reader sees both the wrinkled grandmother of the present and the helpless baby of the past—and immediately signals that this is a story about growth, character, and the quiet lessons of everyday life.
A Name and a Prayer
Patience Lyman enters the world on the first day of a new century, and her mother’s first act is to give her a name freighted with expectation. “If she lives she will have plenty of trouble,” Mrs. Lyman says, “and perhaps the name will help her bear it better.” The mother then lies silent, praying that the child “might grow up in the fear of the Lord.” This moment sets the moral tone: the story will measure character not by wealth or beauty but by endurance and faith. The nurse, Siller Noonin, calls the baby “the sweetest little angel picter,” but Mrs. Lyman dismisses such talk. The contrast between worldly praise and spiritual hope is drawn immediately, and it recurs throughout the excerpts.
The Gown That Stands Alone
When Patty (as she is called) envies Linda Chase’s calico gown that “almost stood alone,” her mother responds with a firm lesson: “My little girl must try to be happy in the state in which God has placed her.” Patty misunderstands, thinking “state” means the District of Maine, but the point is clear. The episode deepens when Patty visits Linda’s home and finds Mrs. Chase with red eyes, despite her riches. Patty recalls Siller Noonin’s remark that Mrs. Chase has “everything heart can wish, except a bottle to put her tears in.” The child wonders why a handkerchief won’t do, and why a rich husband doesn’t simply buy a bottle. This moment of naive logic exposes the gap between material comfort and inner sorrow—a pattern the book returns to.
A Night of Noise and Fear
Patty’s overnight visit at the Chases’ takes a frightening turn when she wakes to scuffling, lights, and a voice saying, “Look out for his head, George.” Linda whispers that Freddy is sick, but Patty hears “dreadful words” and kicking against the wall. The scene is left unresolved in the excerpts, but it clearly contrasts with Patty’s own home, where her mother never complains of feeling “bad round the heart.” The episode uses sound and darkness to create tension, and it hints at troubles—perhaps intemperance or violence—that the story will not fully explain. What is clear is that Patty’s simple world of gingham gowns and cinnamon tears is being measured against a household where wealth cannot prevent fear.
Readers should watch for the way Sophie May uses small objects—a sampler, a silk pocket, a brass kettle—to carry moral weight. The narrative voice shifts between a knowing adult telling the story and the limited perspective of young Patty, creating irony without condescension. The excerpts leave several threads hanging, including the fate of Fred Chase and the meaning of Mrs. Chase’s bottle. The book rewards attention to these details, which are never merely decorative.
Reading about little Patience in her Maine kitchen, there's a particular ache in watching childhood borders become so small. That same ache lingers in the quiet corners of The Fugitives: The Tyrant Queen of Madagascar — Themes and Context, where a girl’s world widens into something vast and unforgiving. I suppose we’re all just trying to hold onto our own sampler-stitched truths.
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