Elsie's Widowhood A Sequel to Elsie's Children — Key Ideas to Explore
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This digital edition of Elsie's Widowhood A Sequel to Elsie's Children — Key Ideas to Explore is described by source-level measurements including 74,999 words, 5 hr 27 min estimated reading time, and 9 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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Violet said gayly, coming forward as she spoke. "But what is the matter?" she asked in alarm, perceiving that tears were trembling in the soft brown eyes that were lifted to hers. "Dear mamma, are you ill? or is Elsie? is anything wrong with her?"
"She shall answer for herself," the mother said with a sort of tremulous gayety of tone and manner. "Come, bonny lassie, lift your head and tell your sister of the calamity that has befallen you."
There was a whispered word or two of reply, and Elsie rose hastily and glided from the room.
"Mamma, is she sick?" asked Violet, surprised and troubled.
"No, dear child. It is--the old story:" and the mother sighed involuntarily. "We cannot keep her always; some one wants to take her from us."
"Some one! oh who, mamma? who would dare? But you and papa will never allow it?"
"Ah, my child, we cannot refuse; and I understand now, as I never did before, why my father looked so sad when yours asked him for his daughter."
Light flashed upon Violet. "Ah mamma, is that it? and who--but I think I know. It is Lester Leland, is it not?"
Her mother's smile told her that her conjecture was correct.
Violet sighed as she took the seat just vacated by her sister, folded her arms on her mother's lap, and looked up with loving eyes into her face.
"Dear mamma, I am so sorry for you! for papa too, and for myself. What shall I do without my sister? How can you and papa do without her? How _can_ she? I'm sure no one in the world can ever be so dear to _me_ as my own precious father and mother. And I wish--I wish Lester Leland had never seen her."
"No, darling, we should not wish that. These things must be; God in his infinite wisdom and goodness has so ordered it. I am sad at the thought of parting with my dear child, yet how could I be so selfish as to wish her to miss the great happiness that I have found in the love of husband and children?"
Violet answered with a doubtful "Yes, mamma, but--"
"Well, dear?" her mother asked with a smile, after waiting in vain for the conclusion of the sentence.
"I am sure there is not another man in all the world like papa; not one half so dear and good and kind and lovable."
"Ah, you may change your mind about that some day. It is precisely what I used to think and say of my dear father, before I quite learned the worth of yours."
"Ah, yes, I forgot grandpa! he is--almost as nice and dear as papa. But there can't be another one, I'm very, every sure of that. Lester Leland is not half so nice. Oh I don't see how Elsie _can_!"
"How Elsie can what?" asked her father, coming in at that moment, and regarding her with a half quizzical look and smile.
"Leave you and mamma for somebody else, you dear, dear, dearest father!" returned Vi, springing up and running to him to put her arms about his neck and half smother him with kisses.
"Then we may hope to keep you for a good while yet?" he said interrogatively, holding her close and returning her caresses in most tender fatherly fashion, the mother watching them with beaming eyes.
"Yes, indeed; till you grow quite, quite tired of me, papa."
"And that will never be, my pet. Ah, little wife, how rich we are in our children! Yet not rich enough to part with one without a pang of regret. But we will not trouble about that yet, since the evil day is not very near."
"Oh isn't it?" cried Violet joyously.
"No; Lester goes to Italy in a few weeks, and it will be one, two, or maybe three years before he returns to claim his bride."
"Ah, then it is not time to begin to fret about it yet!" cried Vi, gleefully, smiles chasing away the clouds from her brow.
At her age a year seems a long while in anticipation.
"No, daughter, nor ever will be," her father responded with gentle gravity. "I hope my little girl will never allow herself to indulge in so useless and sinful a thing as fretting over either what can or what cannot be helped."
"Ah, you don't mean to let me fret at all, I see, you dear, wise old papa," she returned with a merry laugh. "Now I must find Elsie and pass the lesson over to her. For I shrewdly suspect she's fretting over Lester's expected departure."
"Away with you then!" was the laughing rejoinder, and she went dancing and singing from the room.
Martha Finley's Elsie's Widowhood opens not with the titular widow's grief but with a scene of domestic tenderness: Mrs. Travilla caressing her daughter Elsie's hair while Violet looks on. The preface admits the title was demanded by the public, and the author's stated aim is to show how 'the love of Christ in the heart can make life happy even under sore bereavement.' Yet the excerpts quickly shift to a secondary plot involving a disabled writer named Molly and a widower, Mr. Embury, who proposes marriage. This suggests the book may interweave multiple narratives of consolation rather than focusing solely on Elsie's widowhood.
A Preface That Frames the Story as Consolation
The author's preface directly addresses the reader, explaining that the title was imposed by public demand and that the book's purpose is to demonstrate Christian comfort in affliction. Finley quotes the apostle Paul—'I am filled with comfort, I am exceeding joyful in all our tribulation'—and frames the story as a lesson in where to 'go for relief and consolation.' This paratextual evidence shows that the catalog subject 'Christian life' is explicitly thematized, but the excerpts suggest the consolation is delivered through romantic and domestic plots rather than overt religious instruction. The preface's tone is personal and prayerful, ending with an 'earnest prayer' for the reader's benefit.
A Marriage Proposal That Centers Disability and Dependence
The most extended excerpt depicts a proposal between Molly, who describes herself as 'chained to my chair' and earning a 'pittance by my pen,' and Mr. Embury, a widower with young children. The dialogue emphasizes Molly's physical limitations and her fear of being a burden: 'I can never walk by your side... I cannot nurse you in sickness.' Mr. Embury counters by valuing her 'love' and 'the blessed privilege of taking care of you.' The children are brought in to plead his case, and Molly's 'mother instinct' is stirred. This scene, while not directly about Elsie, mirrors the book's concern with finding happiness after loss—here, the loss of mobility and independence—through a relationship that redefines giving and receiving.
Emotional Language and Physical Gestures Over Plot
The excerpts rely heavily on emotional language and physical gestures to convey feeling: tears 'trembling in the soft brown eyes,' a 'thrill of exquisite joy' followed by 'bitter sorrow,' a hand lifted to lips, and children offering kisses. Dialogue is punctuated with exclamations and dashes, creating a breathless, sentimental tone. The setting is intimate—a dressing-room, a private interview—and the narrative voice lingers on caresses and glances. This stylistic evidence suggests that Finley prioritizes emotional states over action, consistent with the catalog's 'Domestic fiction' and 'Religious fiction' tags, but the excerpts do not show explicit religious teaching; instead, the comfort is embodied in human relationships.
Readers approaching Elsie's Widowhood should note that the excerpts focus on a secondary character's romance, not on Elsie's own grief. The preface's promise of Christian consolation may be delivered through multiple storylines. Pay attention to how Finley uses physical disability and dependence as a vehicle for exploring love and care, and consider whether the religious framework is as central as the catalog suggests or more subtly woven into domestic scenes.
That rainy afternoon, Elsie's Widowhood felt less like a story and more like a quiet hand on my shoulder—consolation, not plot. When Elsie’s grief softened into patience, I set it down, and my eyes drifted to a dog-eared copy of The Young Ranchers; Or, Fighting the Sioux — A Closer Reading on the shelf. Same prairie loneliness, same stubborn dignity, spoken in a different voice.
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