The Youngest Girl in the School — Background and Themes
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This digital edition of The Youngest Girl in the School — Background and Themes is described by source-level measurements including 86,333 words, 6 hr 16 min estimated reading time, and 10 detected text sections.
The text analysis averages about 17.6 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 “Boarding schools -- England -- Juvenile fiction,” connecting these edition facts with the source record’s subject description.
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Read the Text
There was a shout of laughter when she finished speaking, and Barbara frowned. She never knew why the boys laughed at her when she tried to explain her reasons for doing things, but they always did.
'Is that why you have put on your very shortest frock?' asked Wilfred, who was brewing something in a saucepan over the fire. 'I believe you think that if Auntie Anna saw you for the first time in your Sunday frock, she might suppose you were a nice, proper little girl, instead of----'
Barbara seized the sofa cushion and aimed it at him threateningly. 'Instead of what?' she demanded.
Wilfred was at a disadvantage, owing to his position as well as to the precious quality of the liquid in the saucepan; and he felt it wiser to make terms. 'Well,' he observed, 'you might at least have put on a longer frock for the credit of the family; now, mightn't you?'
Barbara looked down at her blue serge skirt, edged with certain rows of white braid that only made it look shorter; and she gave it a pull to make it fall a little lower over the slim black legs that appeared beneath it. 'It's not my fault that I have just come from a gymnastic class,' she protested. 'Besides, my Sunday frock is only two inches longer! What difference does two inches make, even if we _have_ got an aunt coming? You're so particular, Wilfred.'
'Stick to your chemicals, Will, and leave the Babe alone,' growled Egbert, who was trying to read a novel on the sofa and found the conversation disturbing.
It was not often that the eldest of the family troubled himself about the disputes of the others, and Barbara was encouraged to go on. 'Besides,' she added, 'there isn't time to change now. Auntie Anna will arrive directly; and who is going to tidy up the schoolroom if I don't?'
Certainly, no one responded to her appeal. Egbert and Wilfred became suddenly and suspiciously interested in what they were doing, while the two other boys, who were seated on the edge of the table, continued to swing their legs lazily backwards and forwards without making an effort to help her. Barbara turned upon them reproachfully.
'It is perfectly horrible of you to sit there laughing, when a strange aunt and a strange daughter may be here at any minute!' she declared. 'I think _you_ might do something, Peter.'
'Not much!' laughed Peter, a tall, broad-shouldered fellow of fifteen or so. 'It's good for little girls to do things, and keeps them from growing out of all their clothes.'
'Chuck it, Babs!' advised the younger of the two. 'What does it matter whether she thinks we live in a pig-sty or not?'
Barbara looked at them doubtfully, then picked up a pile of ragged music and staggered across to the cupboard, shot the music into it, and closed the door just in time to prevent her load from recoiling upon her. A derisive chuckle from the boys on the table greeted her first attempt at tidying up; but she went on resolutely.
'Visitors have no business to come and see people at a day's notice like this,' she complained, as she swept a handful of rusty nails, empty gum bottles, and other evidences of past occupations into a crowded waste-paper basket.
Christopher stopped laughing as she said this, and a change crept over his pale, rather delicate features. 'When the visitor is an _aunt_,' he said with energy, 'a day's notice is more than enough.'
He associated the aunt in question with certain reforms that had taken place from time to time in the household; and he had never forgiven her for inducing their father, just two years ago, to dismiss the nurse they had all adored and to send Robin and himself to a hated day-school. There was no knowing what innovations they might not be forced to accept, now that she was going to descend upon them in person.
Peter chuckled again. Most things to Peter were an occasion for a chuckle. 'That depends on the spirit in which she comes,' he remarked, and he turned his pockets graphically inside out. 'An aunt who has a big place in the country, and can afford to travel about in beastly holes like Munich and the Italian lakes----'
'And can pick up other people's daughters and adopt them,' chimed in Christopher, 'just because their fathers died fighting in the Soudan and their mothers died--how did their mothers die, Egbert?'
Evelyn Sharp’s The Youngest Girl in the School (1901) opens not in a classroom but in a London schoolroom where Barbara, the protagonist, argues with her brothers about tidying up for an aunt’s visit. Her reasoning—that disappointing people is worse than being untidy—prompts laughter from the boys, establishing her as a character who thinks aloud and often misfires socially. The scene sets a tone of domestic chaos and sibling banter, with Barbara’s “very shortest frock” and her brother Wilfred’s chemical brewing over a fire grounding the story in everyday, tactile details.
Mischief and Martyrdom in the Junior Playroom
Later excerpts shift to a boarding school, where Barbara and her peers are punished for laughing during a sewing session. The headmistress, Miss Finlayson, and the teacher Miss Smythe struggle to understand the cause of the disruption. When a visiting Canon mistakes the standing punishment for a voluntary act of charity, the girls—led by Barbara—consider telling him it was his sermon that inspired their “suffering for righteousness’s sake.” Angela vetoes the prank, but five of the six girls adopt a martyr’s glow, while Barbara’s face glows “from a less lofty motive.” The scene reveals Sharp’s interest in the gap between adult perception and children’s inner lives, and the way peer dynamics shape moral choices.
Authority Figures and Their Blind Spots
The Canon’s benevolent confusion—he asks why girls are standing while embroidering—highlights how adults misread schoolroom situations. Miss Smythe, though loyal to her pupils, admits she “could not quite grasp what had been upsetting them.” The narrative voice stays close to the girls’ perspective, letting readers see the irony that the adults miss. Sharp does not villainize the teachers; instead, she shows them as well-meaning but out of touch. The Canon’s offer to mitigate punishment is met with a whispered debate among the girls, who choose solidarity over confession. This episode, like the opening, turns on a small social misunderstanding with larger implications about authority and integrity.
Voice and Structure: Dialogue-Driven Comedy
Sharp’s prose relies heavily on dialogue and quick exchanges. Barbara’s line, “It’s not my fault that I have just come from a gymnastic class,” and her protest that two inches of skirt length make no difference, show her impulsive, logical-illogical reasoning. The brothers’ teasing and the girls’ whispered consultations create a rhythm of interruption and group decision-making. The excerpts contain no extended description of setting or interiority; instead, character emerges through what is said and how others react. This technique keeps the pace brisk and the tone light, even when the subject is punishment or moral compromise. The illustrations by C. E. Brock, listed in the front matter, likely reinforce the comic and expressive quality of the scenes.
Catalog Subjects vs. Textual Evidence
The catalog lists “Boarding schools — England — Juvenile fiction” and “Girls — Conduct of life — Juvenile fiction,” which align with the excerpts. However, the subject “Students — Social life and customs” is only partially supported: the excerpts show punishment and adult-child dynamics, not customs like meals or friendships. The “Conduct of life” tag fits the moral dilemma over the Canon’s sermon, but the excerpts do not show a didactic resolution. Readers should note that the catalog categories are broad; the actual text may emphasize humor and social misunderstanding over explicit moral instruction.
These excerpts suggest a novel that balances school-story conventions with a skeptical eye on adult authority. Barbara’s voice—earnest, mischievous, and occasionally self-aware—drives the comedy. Readers expecting a straightforward moral tale may find instead a nuanced portrait of peer loyalty and the small rebellions that define school life. The incomplete text leaves open how Barbara’s character develops, but the evidence points to a work more interested in social dynamics than in plot mechanics.
Reading about Barbara’s botched sewing session brought back the quiet shame of my own first embroidery attempt, the threads a hopeless tangle. That feeling of being watched and found lacking lingers. Years later, The Wailing Octopus: A Rick Brant Science-Adventure Story — A Reader’s Guide held a similar tender memory—a boy’s clumsy hands fumbling with a knot, the same soft ache of imperfection, the same relief when nobody laughed.
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