Mistress Margery — Story, Setting & Ideas

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Holt, Emily Sarah, 1836-1893 Project Gutenberg 2007 Not confirmed
Christian life -- Juvenile fiction; Lollards -- Juvenile fiction; Religion -- Juvenile fiction; Great Britain -- History -- Henry IV, 1399-1413 -- Juvenile fiction Readers of public-domain and historical texts
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Edition facts

Words 38,234
Reading time 167 min
Text sections 4

The catalog record for Mistress Margery — Story, Setting & Ideas provides practical reading context through 38,234 words, 2 hr 47 min estimated reading time, and 4 detected text sections.

The text analysis averages about 18.6 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.

Emily Sarah Holt's historical novel follows Margery Lovell, a young woman in 1395 England, as she navigates faith, marriage, and the Lollard movement. The narrative uses archaic dialogue and detailed domestic scenes to explore religious conviction and obedience.
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Editorial Edition Score 4.5/5

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  • Description quality20 pts
  • Title & short description10 pts
  • Source metadata20 pts
  • Text length15 pts
  • Chapters / structure15 pts
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Read the Text

Margery looked timidly at her mother. "I would like well to go," said she, "an' it might stand with your good pleasure."

"Ay, lass, go," replied Dame Lovell, good-naturedly. "It is seldom we have a homily in Bostock Church. Parson Leggatt is not much given to preaching, meseemeth."

"I will go with you, Master Pynson," said Margery, resuming the concoction of the dainty dish before her, "with a very good will, for I should like greatly to hear the Reverend Father. I never yet heard preach a scholar of Oxenforde."

Dame Lovell moved away to take the pottage off the fire, and Pynson, approaching Margery, whispered to her, "They say that this Master Sastre preacheth strange things, like as did Master John Wycliffe a while agone; howbeit, since Holy Church interfereth not, I trow we may well go to hear him."

Margery's colour rose, and she said in a low voice, "It will do us no harm, trow?"

"I trust not so," answered Richard; and, taking up his hunting-bag, he quitted the room.

"Why, Cicely!" exclaimed Dame Lovell, turning round from the pottage, "had I wist thou hadst put no saffron herein, thou shouldst have had mine hand about thine ears, lass! Bring the saffron presently! No saffron, quotha!"

Before we accompany Margery and Richard to hear the homily of Master Sastre, it might perhaps be as well to prevent any misunderstanding on the part of the reader with respect to Richard Pynson. He is the page of Sir Geoffrey Lovell, and the son of Sir John Pynson of Pynsonlee; for in the year 1395, wherein our story opens, it is the custom for young gentlemen, even the sons of peers, to be educated as page or squire to some neighbouring knight of wealth and respectability. Richard Pynson, therefore, though he may seem to occupy a subordinate position, is in every respect the equal of Margery.

The morning on which Master Sastre was to deliver his homily was one of those delicious spring days which seem the immediate harbingers of summer. Margery, in her black dress, and with a warm hood over her cote-hardie, was assisted by her father to mount her pillion, Richard Pynson being already seated before her on the grey palfrey; for in the days of pillions, if the gentleman assisted the lady on her pillion _before_ he mounted himself, he ran imminent risk of knocking her off when he should attempt to mount. They rode leisurely to church, the distance being about two miles, and a little foot-page ran beside them charged with the care of the palfrey, while they attended the service. Mass was performed by the parish priest, but the scholar from Oxford, who sat in the sedilia, where Margery could scarcely see him, took no part in the service beyond reading the Gospel.

The sermons of that day, as a rule, may be spoken of in two classes. Either the preacher would read a passage of Scripture in Latin, and throw in here and there a few remarks by way of commentary, or else the sermon was a long and dry disquisition upon some of the (frequently very absurd) dogmas of the schoolmen; such as, whether angels were synonymous with spirits, which of the seven principal angels was the chief, how long it took Gabriel to fly from heaven to earth at the Annunciation, at what time of day he appeared, how he was dressed, etcetera, Sastre's discourse could not be comprised in either of these classes. He read his text first, as usual, in Latin, but then he said:

"And now, brethren and sistren, to declare in the vulgar tongue unto you that have not the tongues, this passage of God's Word as sueth." [Sueth means follows].

"_The Lombe that was slayn is worthi to take vertue and Godhed and wisdom and strengthe and onour and glorie and blessyng_!"

Note: it will readily be seen that all the quotations from Scripture in this story are necessarily taken from Wycliffe's translation.

The novel opens in the bustling kitchen of Lovell Tower, spring 1395, where Dame Lovell directs her maids with a mix of warmth and sharp discipline. The narrative voice immediately establishes a domestic realism: leeks must be hewn small, pottage must not boil over, and the idle jade Al'ce receives a box on the ear for omitting onions. Into this ordered chaos steps seventeen-year-old Margery, described with clinical precision—pale golden hair, grey eyes, a fragile frame that hints at disease. The prose lingers on costume and custom, from the Syrian head-dress to the meaning of 'presently' in 1395, grounding the reader in a specific historical moment before the theological conflict emerges.

Archaic Speech and Shifting Register

Holt crafts dialogue that mimics Middle English syntax and vocabulary—'I wis not,' 'soothly sithence,' 'thilk Spyryt of treuthe'—yet the narrator's voice remains lucid and modern. This creates a deliberate tension: the reader must adjust to archaic rhythms while following a clear argument. Margery's speech is notably direct and logical, as when she counters Archbishop Arundel by quoting John 16:13 in a hybrid of Wycliffite phrasing and her own reasoning. The register shifts between the kitchen's colloquial commands ('Nan, thy leeks be not hewn small enough') and the theological debate's formal cadences, marking social hierarchy and the gravity of the confrontation.

Pace and the Interruption of Doctrine

The early chapters move at a leisurely, descriptive pace, cataloguing meals and domestic tasks. This rhythm is abruptly broken when Lord Marnell challenges Margery about her book. The dialogue accelerates into a rapid exchange of scriptural citation and accusation, culminating in the book's burning. Holt uses the fire as a fulcrum: the measured description of the volume's destruction—'the fire was a large one, and in a minute the volume was consumed'—contrasts with Margery's faltering speech and swimming eyes. The pace then slows again as she hands over the book, her obedience undercut by her steadfast claim to the truth within.

Recurring Motifs of Obedience and Resistance

Margery's physical fragility—'great fragility and delicacy,' 'almost colourless' face—belies her verbal steadfastness. Holt repeatedly pairs Margery's acknowledgment of wifely duty ('wives be bounden to obey their husbands') with her refusal to surrender internal conviction. When Lord Marnell commands her to give up the book, she complies, but immediately asserts that 'the truth which this book hath taught me, neither you nor any other man shall have power to take from me.' This pattern recurs in her response to Arundel: she calls him 'father' while accusing him of burning Christ's Word. The motif of the book itself—kissed, handed over, consumed—becomes a physical emblem of this tension between external submission and inner fidelity.

Readers should attend to how Holt uses the domestic setting as a foil for theological conflict. The kitchen's sensory details—fire, leeks, pottage—ground abstract debates in material life. Margery's voice, though filtered through archaic diction, carries a modern clarity that invites reflection on conscience and authority. The excerpts offer only the opening crisis; the novel's full trajectory remains unknown, but the patterns of speech, pace, and motif established here suggest a narrative that values quiet resistance over dramatic action.

I have spent many evenings with Mistress Margery, marveling at how a young woman's quiet resolve can reshape a household. That same sober, unforced courage lives in my memory of Ben Hadden; or, Do Right Whatever Comes Of It — Story, Setting & Ideas—a book that asks nothing more than steadfastness, and offers everything in return. They are, to me, like two sturdy oaken chairs beside the same fire.

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