Maid Sally — A Reader’s Guide

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Cheever, Harriet A. (Harriet Anna), Davidson, Bertha G. [Illustrator] Project Gutenberg 2010 Not confirmed
Girls -- Juvenile fiction; United States -- History -- Revolution, 1775-1783 -- Juvenile fiction; Virginia -- History -- Colonial period, ca. 1600-1775 -- Juvenile fiction Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 47,968
Reading time 209 min
Text sections 7

This digital edition of Maid Sally — A Reader’s Guide is described by source-level measurements including 47,968 words, 3 hr 29 min estimated reading time, and 7 detected text sections.

The text analysis averages about 18.7 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 “Girls -- Juvenile fiction,” connecting these edition facts with the source record’s subject description.

In this 1902 novel, orphaned Sally listens to a fairy tale under a hedge, then navigates colonial Virginia on the eve of revolution. The excerpts reveal a child caught between Mammy Leezer's dialect songs, the Fairy Prince's departure, and her own 'History of America' studies.
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Editorial Edition Score 4.7/5

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Read the Text

"And the Fairy sang to the poor child, and stroked its tangled hair, and smoothed its puckered cheeks.

"And it sang and sang until the little face that had been full of trouble grew bright with the cheer of heartsease.

"And still the Fairy sang and sang until, from very peacefulness, the child's eyes began to droop and softly close, just as the flowers droop and hang their pretty heads at twilight-song.

"And the Fairy sang on and on until the little creature in its arms had floated into Dreamland, and then had passed far beyond Dreamland into Fairy Town. And the child skipped through green fields and grassy meadows, went dancing through beds of flowers, and flying in and out of bushes full of sweetest scents. It drank the honey-drops the bees love, and sipped syrup of flowers, the humming-bird's food. And it heard ripples of music, such as are heard only in Fairy Town, and saw lovely little objects with wings of gauze, and eyes like sparks of light.

"And the Fairy sang and sang, and the child dreamed and dreamed, until every shadow of its life had faded away. And still it dreamed and dreamed--"

The little girl that had been listening under the hedge close to the stone wall, jumped at the sound of her name.

Oh, dear! _must_ she go back to Slipside Row, and hear the scolding voice of Mistress Cory Ann Brace, after being lifted almost into the clouds, and having a tiny peep into Fairy Town?

Could she come back to earth again, and cook, and scrub, and sew, and do all kinds of hard things, after hearing that wonderful scrap of glory about the dear, beautiful creatures called the Fairies?

"Yes, Mistress Cory Ann, I'm coming."

Swiftly back through Shady Path and Lover's Lane ran Sally, her frowsly head full of the strange, sweet fragment of fairy song that she had heard.

"Now, where've you been?" cried Mistress Cory Ann, as Sally came panting into the Row. "Not up to Ingleside, I hope! I had to run way up the path to make you hear. Haven't I told you more'n a hundred times you'd better keep away from there? Just let the people up at the big house catch you pokin' around, and back you'll come faster'n ever you went. Do you hear, Sally Dukeen?"

Strange it would have been had not Sally heard, for Mistress Cory Ann's voice was loud enough to have reached way across Lover's Lane. But Sally answered truthfully.

"Yes, I hear, Mistress Cory Ann, and I have not been on the Ingleside grounds at all."

No, she only had been roaming on the borders of the beautiful place, then hiding close to the stone wall.

A poor, hard-worked little girl it was that had raced back to Slipside Row. And no one to glance at her would have thought her pretty at all.

The people who lived in the row of houses were poor, but they all liked Sally. Yet all they knew about her was that her father had boarded with his little girl at Mistress Cory Ann Brace's house, when Mistress Brace lived in another town, and in a much finer house than any at Slipside Row. But he soon died, leaving his little girl, and some money, in Mistress Brace's care.

No one knew about the money, however, except Mistress Brace herself, but had it been used as it should have been, there would have been enough to have lasted some time, paying for the child's coming needs. But Mistress Brace hid it away, meaning to do with it exactly as she pleased, while she still kept Sally, because, being a smart and willing child, she could be of great use. Then Mistress Brace moved to a place called "The Flats," where she lived three years; now she had lived three more years at Slipside Row.

The mistress was not really cruel to Sally, neither was she kind. And very constantly at work she kept her, sweeping, cooking, sewing; in fact, doing anything that a growing child of eleven years could do. And if ever Sally grew tired, and was not brisk as usual, Mistress Brace would say that it was to the Town House she must go.

Now Sally had seen old Gran'ther Smithers and Aunt Melindy Duckers, who lived at the Town House, and she often had seen the old building itself, set far back in a grassy road that was not at all unpleasant, but so dreadful was the thought of ever having to go there herself, that no matter what Mistress Brace required of her, she tried her best to do it.

The novel opens not with action but with a fairy tale sung under a hedge. Sally, hidden near Ingleside, overhears a story about a Fairy who sings a troubled child into Dreamland and beyond, into Fairy Town. The tale is interrupted by her name being called, and the narrative shifts abruptly from fantasy to the practical world of colonial Virginia. This juxtaposition—between the lyrical, soothing voice of the Fairy and the sharp summons of reality—sets a pattern for the excerpts that follow.

Sally is a girl who lives in two worlds: one of imagination, where she can name every horse in the stable and feel the pang of the Fairy Prince's absence, and another of hard study, where she must lodge the 'History of America' in her mind. The text shows her listening to Mammy Leezer's dialect songs and watching Hotspur bolt, yet also noting the 'rumors o' wars' that threaten her quiet life.

Voices in Contrast: Fairy Tale, Dialect, and History

The excerpts present three distinct registers of speech. The opening fairy tale uses a rhythmic, repetitive syntax—'And the Fairy sang and sang'—to create a hypnotic, dreamlike quality. In contrast, Mammy Leezer's speech is rendered in dialect: 'I doan't like it one mite seein' my young Mars' Lion fly in' off to Inglan'.' Her voice is earthy, full of specific memories of bouncing the child on her knee and singing the 'trip song' in a mix of English and Dutch-like nonsense syllables. A third register appears in the narrator's own voice, which is formal and slightly archaic: 'Not many children have the depths of imagination that had Maid Sally.'

These voices do not blend. The fairy tale is interrupted by Sally's name; Mammy's soliloquy is broken by Hotspur's bolting. The only constant is Sally herself, who moves between them, listening. The text does not privilege any one voice—the fairy tale is left unfinished, Mammy's story is cut short, and the historical narrative is reduced to a book Sally must memorize.

The Fairy Prince and the Lonely Child

The excerpts introduce a character called the 'Fairy Prince'—Lionel, the son of Ingleside. He is described only through Sally's perception: he rides Hotspur 'as if by nature,' and his departure for England leaves the plantation 'tinged with sadness.' Sally's reaction is intensely personal. She knows the horses by name, feels a 'pang of regret' seeing them, and wanders to the stable yard where Mammy Leezer sits. The text states that 'not many children have the depths of imagination that had Maid Sally,' and that she is 'almost alone in the world.'

The Fairy Prince is not a fully realized character in these excerpts; he is a figure of absence. Sally's longing is directed at him, but the narrative does not show any interaction between them. Instead, it shows her listening to Mammy talk about him as a baby, and watching him ride by from her window. The tension is between Sally's inner world of imagination and the outer world of plantation life, which offers her only indirect contact with the object of her affection.

Setting as Emotional Landscape

The physical setting in the excerpts is not merely background but an active element in Sally's emotional state. The hedge and stone wall where she first listens to the fairy tale is a 'beloved perch' she visits cautiously. The stable yard, with its named horses and the sound of Sam Spruce's banjo, is described as 'pleasant yet tinged with sadness.' Mammy Leezer sits on the grass, smoking a pipe, and her voice is 'comforting' to Sally. Even the weather is noted: a 'lovely, dreamy night' in late October.

These details create a world that is both idyllic and fragile. The horses, the songs, the twilight—all are colored by the impending departure of the Fairy Prince and the distant 'rumors o' wars.' The setting is not static; it shifts from the enclosed hedge to the open lawn where Hotspur bolts, and finally to the quay where the Prince sails away. Each location carries a specific emotional weight, and Sally moves through them as a solitary observer.

Readers should attend to the way the novel uses listening as a primary mode of experience. Sally overhears, eavesdrops, and overhears again; she is rarely the speaker. The excerpts do not reveal whether she ever becomes an active participant in the events of the Revolution, but they establish her as a character who absorbs the voices around her—fairy tale, dialect, history—without fully belonging to any of them. The tension between her inner life and the outer world of colonial Virginia is the engine of the narrative.

Reading about Sally at her History of America studies, sitting there with Mammy Leezer's songs still hanging in the air, I found myself remembering another shelf of old books. There’s a particular gentleness to how children in those pages occupy their days, as if time itself moved slower. That same unhurried rhythm came back to me in Child Life in Town and Country 1909 — Key Ideas to Explore.

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