For the School Colours — A Closer Reading
Edition facts
For the School Colours — A Closer Reading can be approached with a clearer sense of reading commitment from its source measurements: 68,704 words, 4 hr 59 min estimated reading time, and 7 detected text sections.
The text analysis averages about 13.8 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 “Friendship -- 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
Laura looked at her, and shook her head in commiseration.
"Yes, that's how it took us all when we heard," she remarked. "You'd better sit down on your bed till you get the first shock over. It's enough to make a camel weep. I couldn't believe it myself for a few minutes, but it's only too true, unfortunately for us."
"The Hawthorns! Those girls whom we never spoke to--wouldn't have touched with a pair of tongs!" gasped Irma.
"You may well marvel," sympathized Janet.
"But what's Miss Thompson _thinking_ of? Why, she always looked down so on the Hawthorns! Wouldn't let us arrange matches with their teams, and kept us away from them at that bazaar as if they'd been infectious. It's been the tradition of the school to have nothing to do with them."
"Traditions have flown to the four winds. There'll be nearly fifty Hawthorners turning up by nine o'clock to-morrow morning."
"Nearly fifty! And we were only thirty-six ourselves last term! Why, the school will be swamped!"
"Exactly, and with day girls too. When there were twenty-four boarders to twelve day girls, we could have things pretty well as we liked, but if we've to hold our own against sixty or so--well!"
"It'll mean war!" finished Ethelberga, setting her mouth grimly.
"But what's possessed Miss Thompson to do such an atrocious thing?" cried Irma in exasperation.
"_L, s. d._, my child, I suppose. Miss Perry was giving up the school, and Tommiekins bought the connection. She's completely veered round in her opinions. She told Adah Gartley they were nice girls, and would soon improve immensely at Silverside. 'I hope you'll all make them welcome,' she said to Adah."
"Welcome!" echoed Irma, Janet, and Ethelberga eloquently.
"It wouldn't have been so bad," continued Laura, "if just a few of them--say a dozen--had been coming. We could have kept ourselves to ourselves and quite ignored them. But we're being absolutely cuckooed out. Do you know that our recreation room has been commandeered for an extra class-room?"
Howls of dismay issued from the trio now seated on Irma's bed.
"Yes, you'd hardly believe it, but it is a fact," ran on Laura with dismal volubility. "When I went to take my painting things there I found our tables and easy chairs gone, and the whole place filled up with new desks and a blackboard."
"Where are we going to sit in the evenings?" demanded Ethelberga fiercely.
"Goodness only knows! In the dining-room, I suppose."
"We evidently don't count for anything with Tommiekins now," said Janet bitterly. "The Daisy dormitory has been taken for a class-room, and an extra bed has been put in each of the other dormitories to make up. Didn't you notice, Irma, that there are five here now, instead of only four?"
"Why, so there are! What a hateful cram! Who's to have the fifth?"
"I asked Hopscotch, and she said, 'A new girl.' I couldn't help flying out at that, and she simply sat flat upon me and withered me. Told me to go away and mind my own business, and she was coming round to inspect the Cowslip Room in half an hour, and I'd better get on with my unpacking."
"Oh, she will! Why didn't you tell us that before?" exclaimed the others, bouncing up with considerable haste, and setting to work again to empty their boxes.
"I forgot. I can think of nothing but those wretched Hawthorners. It's made me feel weak."
"You'll feel weaker still if Hopscotch comes in and finds you with nothing unpacked!" observed Laura sagely, stowing underclothes in her middle drawer with the utmost rapidity. "I advise you to make some sort of a beginning, even if you don't put things away tidily. Fling them in anyhow, stick a blouse for a top layer, and straighten them up afterwards. Don't let her see them still inside your box."
For a few minutes the girls suspended talk for work. Laura's flaxen head vibrated between box and wardrobe. Janet arranged her dressing-table and replaited her dark pigtail. Ethelberga hung up a selection of photographs, and placed her nightdress inside its case; Irma spread her bed with her possessions, preparatory to filling her drawers, and comforted her ruffled feelings with the last pear-drop in the paper bag she had brought with her.
The story opens with a burst of indignation: Laura, Janet, and Ethelberga react to the news that Hawthorn House girls are to be merged into their form. Their slangy, emphatic protests—'It's the limit!' and 'Gives me nerve shock!'—set a tone of bristling school loyalty. Angela Brazil quickly establishes a world where friendships and rivalries are declared in strong, colloquial terms, and where the headmistress's decisions can feel like personal betrayals.
Alongside this school plot, a separate thread emerges when Avelyn stumbles upon a tense scene at Moss Cottage. Pamela's frightened whisper, her uncle's bullying tone, and the image of a linnet caught in a net all hint at a hidden conflict far from the classroom. The excerpts suggest that Brazil weaves together two kinds of tension: the open, vocal battles of schoolgirl politics and the quieter, more dangerous secrets of home life.
Voices of Rebellion and Solidarity
The dialogue in the opening chapter is notably vivid and collective. Laura, Janet, and Ethelberga speak almost as a chorus, finishing each other's sentences and reinforcing shared outrage. Their language is colloquial and emphatic: 'Crystal clear, I would.' This shared voice creates a sense of a tight-knit group that defines itself partly by opposition to outsiders—in this case, the incoming Hawthorners. Brazil uses this technique to show how schoolgirl alliances are formed and expressed through talk.
Later, Avelyn and her brothers David and Anthony adopt a different tone—more cautious, analytical. David calls the mystery his first 'case' and insists on gathering evidence before acting. The contrast between the girls' open indignation and the boys' strategic silence suggests that Brazil is exploring different codes of loyalty: one based on vocal solidarity, the other on secret investigation.
The Threatening Adult World
Mr. Hockheimer, Pamela's uncle, is the only adult who appears in a sustained scene in the excerpts, and he is portrayed as a bully. His words—'Do you think I feed you and educate you for you to do just as you like?'—carry a menacing tone that contrasts sharply with the school's world of rules and friendships. Pamela describes herself as a 'little wild linnet' caught in a net, and her mother is depicted as 'absolutely trusting and unsuspicious', leaving Pamela isolated.
This adult threat is also linked to wartime suspicion: the boys refer to Mr. Hockheimer as 'that old Hun', and Avelyn recalls 'what we saw in the wood'. Brazil thus introduces a layer of national tension into the personal drama, suggesting that the mystery may involve espionage or disloyalty beyond the school gates. The stable scene, with Avelyn crouched under the manger, is a striking image of hidden observation and power imbalance.
Secrecy and the Limits of Trust
Throughout the excerpts, characters repeatedly choose not to share information. Pamela refuses to tell Avelyn her secret, saying 'I want to think it over.' David warns Avelyn not to 'blab' to the vicar. Even the initial school conflict is framed as a surprise sprung by Miss Thompson, who 'never let out so much as a teeny-weeny hint'. Brazil builds a narrative around withheld knowledge and the tension it creates.
This pattern of secrecy raises questions about whom to trust. Pamela trusts Avelyn enough to ask for help later, but not enough to explain now. The boys trust only themselves. The schoolgirls trust each other in their complaints but not the headmistress. Brazil seems to be examining how loyalty is tested when information is scarce, and how characters must decide when to speak and when to stay silent—a theme that would resonate in a wartime setting where discretion could be a matter of safety.
Readers should pay close attention to the way Brazil uses setting to mirror emotional states: the stable's darkness and the wood's secrecy contrast with the open, noisy school corridors. The recurring image of nets and traps—the linnet, the 'meshes'—suggests that the characters are navigating systems of control they cannot fully see. The excerpts offer only fragments of the larger plot, but they establish a world where every conversation might carry a hidden meaning, and where the line between friend and enemy is drawn not just between schools but within families.
That quiet ache for little Avelyn, figuring out where she belongs among shifting schoolrooms and hidden troubles, lingers. I remembered it reading how Dorothy and her friends navigate their own gentle mountainside mix of joys and small trials. Something so comforting about those quiet, old-school loyalties. Dorothy Dainty at the Mountains — Text and Context feels like holding a warm cup of tea after a long day, a soft reminder of courage found in simple kindness.
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