'Me and Nobbles' — Reading Companion
Edition facts
'Me and Nobbles' — Reading Companion can be approached with a clearer sense of reading commitment from its source measurements: 51,586 words, 3 hr 45 min estimated reading time, and 6 detected text sections.
The text analysis averages about 14.1 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.
Calculated from edition completeness, EPUB availability, text structure and catalogue metadata. Not a user rating.
How this score is calculated
- 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.
Read the Text
THE BEAUTIFUL PICTURE.
And so the house slipped back again to its gravity and silence, and the child played about in the shrubberies and sat in the apple-tree gazing wistfully up the dusty high-road. And deep down in his heart the hope still lingered that his father would appear one day. Spring turned into summer, and Bobby spent most of his days out of doors. One afternoon his nurse took him to a farm. She was great friends with the farmer's wife, and Bobby loved a visit there, for he was allowed to wander about round the farm and watch the farm hands in their various occupations. This afternoon he crossed a field to see a young colt. He was laughing heartily as he watched its frisky antics, when from the lane that was on one side of the field, a big black retriever appeared, barking furiously.
Bobby was not accustomed to dogs. 'The House' kept none, and with his heart in his mouth he turned and fled. The retriever pursued him, evidently showing by his gambols that he wanted to play. Somehow or other Nobbles slipped from his grasp as he ran, and in an instant the dog had seized hold of him and, bounding over the hedge, carried him away in his mouth.
This awful tragedy brought Bobby to his senses. He was panic-stricken no more, but scrambled as fast as he could into the lane. He was the pursuer now; the big black dog was trotting slowly up the road, and he trotted as hard as he could go after him.
It was of no use to call after the robber. Once Bobby did so, but the dog only turned his head to look at him, and then began to trot faster than ever. Bobby's short legs did not make rapid progress. Soon he began to feel dreadfully tired. Up the lane, out on the highroad, up another side road, and finally through some big iron gates towards an old red-brick house that stood in the midst of bright flowerbeds and green lawns. The big dog led his pursuer deliberately on, and Bobby, heated and footsore, had no thought but to follow.
There was a lady sitting at tea under some shady trees upon the lawn. The retriever made his way straight to her, and dropped the stick at her feet. Bobby came shyly forward, and the lady looked at him in surprise. She was dressed in deep mourning, and had a very sad face, and, though she looked young, her hair was as white as snow.
'Who are you, little boy; and what do you want?'
'I'm Bobby, and that dog took away Nobbles. I've runned after him 'bout twenty miles!'
He picked up his beloved stick, kissed the ugly little smiling face, then produced a very small handkerchief from his pocket and began wiping Nobbles all over very carefully.
The lady looked at him with a puzzled smile.
'You look hot and tired,' she said; 'sit down, and I will give you some strawberries and cream.'
Bobby's eyes brightened. He sat down on the grass and looked up at the lady.
'Is that dog yours?' he asked.
'Yes; his name is Lucky. That's a funny name, isn't it? It was very naughty of him to run away with your stick. I must punish him by not giving him any cake.'
She shook her head at Lucky, who was sitting up on his haunches with his tongue hanging out, watching his mistress with beseeching brown eyes.
Bobby looked at him severely.
'He is a robber! Poor Nobbles must have thought he was being taken off by a lion. I expec' he was dre'ffully frightened. You see, Nobbles isn't just a stick at all.'
'What is he? I see he has a wonderful head!'
'Yes; he's Nobbles.' He paused, then added impressively: 'He's my 'ticylar friend; we always live together. He understands all I say, but he can't speak.'
The lady smiled upon him very pleasantly, then she handed him a delicious plate of strawberries, and Bobby set to work at once. He thought he had never tasted anything so nice, and in the middle of it he looked up a little anxiously.
'Poor Nobbles can't eat at all. It's such a pity. He doesn't grumble, but when I have anyfing _very_ nice he looks in his eyes as if he could cry; only he doesn't, for he never leaves off smiling.'
'He's a splendid little friend to have,' the lady said cheerfully. 'I wonder where you live?'
'In the House, with nurse and grandmother.' He heaved a sigh. 'We shall have to go back soon.'
The prologue of 'Me and Nobbles' establishes a house that is almost a character in itself: a 'very silent old house' with draped windows, gloomy fir trees, and rooms that seem to disapprove of their inhabitants. The description lingers on the stillness, the musty drawing-room, and the library where 'the sun had a way of only hastily shining in when he could not help himself.' This setting is not mere backdrop; it is the environment that young Bobby must navigate, both physically and emotionally. The contrast between the oppressive formality of the house and the freedom of Bobby's imagination—embodied in his stick, Nobbles—is central to the work's structure. The narrative moves between these two poles: the constrained, adult world of rules and the child's world of play and invention.
The Silent House and the Imaginary Friend
The prologue paints a vivid picture of a home where 'instinct made people tread gently' and the portraits 'eyed you with disapproval.' This environment is immediately contrasted with Bobby's relationship to Nobbles, a stick he grasps tightly. The house's stillness is broken only by Bobby's imaginative exploits, which often involve Nobbles as the instigator. For instance, when Bobby considers knocking down pears from a wall, he insists it would be Nobbles doing it, not himself. This dynamic allows Bobby to test boundaries while maintaining a sense of innocence. The house, with its 'gloomy fir trees' and 'stained glass' windows, seems to resist such play, creating a structural tension between the child's vitality and the adult world's rigidity.
Movement Between Indoor and Outdoor Spaces
The narrative frequently shifts between the confining interiors—the morning room, the library—and outdoor settings like the garden or the apple tree. Bobby's letter from the 'sad lady' recalls him sitting in an apple-tree, imagining he sees his father coming along the road. These movements are not merely scenic; they reflect Bobby's emotional state. Indoors, he is subject to adult authority and the weight of his grandmother's expectations. Outdoors, he can converse with Nobbles and engage in 'inventions' with his friend True. The apple tree, in particular, becomes a vantage point for longing and hope. The structure of the book thus alternates between these spheres, using setting to underscore Bobby's confinement and his yearning for his absent father.
Recurring Images: The Stick, the Letter, the Picture
Several images recur throughout the excerpts, linking scenes and themes. Nobbles, the stick, is a constant companion, described as 'tightly grasped in his hand.' It is both a toy and a confidant, allowing Bobby to externalize his desires and fears. The letter from the 'sad lady' introduces another recurring motif: the picture of the golden gates. She mentions painting a copy for Bobby, and this image of a promised, better place echoes Bobby's hope for his father's return. The letter itself is a physical object that bridges distance, much like the stick bridges imagination and reality. These repeated elements give the narrative a cohesive texture, even as the story moves through different episodes.
Voice and Dialogue: Bobby's Quaintness and True's Eagerness
Bobby's speech is marked by grammatical quirks—'me and Nobbles,' 'we was finking'—that convey his youth and his close identification with his imaginary friend. True, in contrast, speaks with a breathless eagerness, imagining letters from 'the King, or from a fairy godmother.' Their dialogue is natural and unforced, revealing character through rhythm and vocabulary. Mrs. Allonby's quiet, firm responses show an adult who engages with Bobby's fantasy on its own terms, threatening to punish Nobbles rather than the boy. This interplay of voices creates a layered narrative where the child's perspective is central but not unchallenged. The dialogue also advances the plot, as when the letter arrives and must be read aloud, moving the story toward the father's eventual return.
Readers attentive to setting and repetition will find that 'Me and Nobbles' rewards close observation of its spatial and imagistic patterns. The house, the stick, the apple tree, and the letter are not merely decorative; they structure the emotional journey. The excerpts offer a clear sense of how the narrative moves between confinement and hope, but the full arc of Bobby's story—including the resolution of his father's absence—remains to be discovered in the complete text.
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