Molly Brown's College Friends — Reading Companion
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This digital edition of Molly Brown's College Friends — Reading Companion is described by source-level measurements including 54,882 words, 3 hr 59 min estimated reading time, and 6 detected text sections.
The text analysis averages about 15.0 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.
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- Title & short description10 pts
- Source metadata20 pts
- Text length15 pts
- Chapters / structure15 pts
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Read the Text
Molly had been married almost four years on that day in March when he was assisting in the imposing rite of hanging curtains in the guest chamber, and she was still as wonderful to him as she had been on that day they had walked through the Forest of Fontainebleau and he had confessed his love. She was the same charming girl who had lingered too long in the cloisters and been locked in to be rescued by him on her first day at college, now so many years ago.
Indeed, Molly Brown has changed very little since last we saw her. Little Mildred is walking and talking and singing little tunes and saying Mother Goose rhymes. She even knows her letters upside down and no other way, having learned them from blocks, presumably standing on her curly head as she acquired the knowledge.
There is another baby in the nursery now: little Dodo, whose real name is George, a remarkably satisfactory infant who sleeps when he should and wakes in a good humor, taking the proper nourishment at the proper hours and going back to sleep. Molly had learned the great secret of young motherhood from her first born: not to take parenthood too solemnly and seriously, and to realize that Mother Nature is the very best mother of all and babies thrive most when left as much as possible to her all-wise and tender care.
Nance Oldham, Molly's old friend and roommate at college, was coming at last to make her long promised visit to the Greens. Little wonder that Molly feared she would be changed! Nance's path in life had not been strewn with roses. No doubt my readers will remember that Mrs. Oldham, her mother, was a clever woman, lecturer, suffrage agitator, anything but a homemaker. When Nance finished college she had gone back to Vermont and dutifully kept house for her neglected father, although her secret ambition was to teach. Mr. Oldham had been so happy in having a home of his own that Nance had felt fully repaid for her sacrifice. Her mother, too, had at last realized the delights of home, when someone else had the trouble of keeping it, and had spent much more time with her family than she had for many years.
A lingering illness had attacked Mr. Oldham and after two years of tender nursing on the part of his daughter and futile ineffectual attempts at tenderness on the part of his wife, the poor man had passed away. Then it was that Nance's friends had felt that her career might begin, but Mrs. Oldham had suddenly decided that she could not live without the husband who had been ever patient with her vagaries and she had gone into a slow decline. More nursing and self-denial for the patient Nance!
She was an orphan now and although she was in reality little more than a girl she felt old and settled, that the little youth she had ever had, had left her years ago. Molly had written her immediately on hearing of Mrs. Oldham's death, declaring that she and her Edwin were ready and eager for the long-deferred visit. "I say 'visit,'" wrote Molly, "but I want you to make your home with us. Little Mildred calls you Aunt Nance and Dodo will call you the same as soon as he can talk."
The guest chamber was now in perfect order. The fresh curtains hung as straight as a learned professor of English could hang them, the bureau scarf and table cover were smooth and spotless, and on the window sill blossomed a pot of sweet violets sent by Mrs. McLean from her own greenhouse.
"I wonder about Nance and Andy McLean," said Molly, as she and her husband were walking to the station to meet their guest.
"Wonder what about them?"
"Wonder if they will ever marry!"
"Pooh! I fancy it was just a schoolgirl affair. They don't often amount to much."
"Schoolgirl affairs can be right serious, as you of all others should know!"
"Thank goodness, some of them!" said Edwin devoutly.
"I reckon Nance will be in deep mourning," sighed Molly. "I hate mourning,--I mean long veils and crepe trimmings."
"So do I,--a relic of barbarism!"
"I'll give up my literary club for a while. I know Nance will not feel like seeing a lot of young people."
Professor Green said nothing but he felt it was rather hard on Wellington that any of its pleasures should be curtailed because of the death of a lady in Vermont. But Molly must do what she thought best. He hoped their guest would not put too long a face on life and would not prove inconsolable.
The novel opens with Molly Brown, now Mrs. Edwin Green, preparing a guest room for her old friend Nance Oldham. Her husband, a professor of English, helps hang curtains, and their easy banter establishes a warm domestic tone. The narrator notes that Molly has changed little since her college days, and that her daughter Mildred knows her letters “upside down and no other way.” This domestic scene quickly gives way to a broader campus setting, where President Miss Walker and Professor Green discuss student behavior and a handsome new instructor, M. Misel.
The excerpts then shift to a nighttime prank: three veiled girls—Judy, Katherine, and Otoyo—run through the dark, impersonate the Musicians of Bremen, and bray, crow, and meow under a math teacher’s window. The episode is playful but also hints at the tension between authority and mischief that runs through the book.
Domesticity and Friendship
The opening chapter, “Nance Oldham,” establishes a key dynamic: Molly’s married life is comfortable yet still centered on her college friendships. She worries that Nance may have changed, but Professor Green reassures her: “I think she is the kind of girl who will always be the same.” This line sets up a theme of constancy versus change. The domestic details—hanging curtains, arranging bureau scarves—are rendered with specificity, grounding the story in the physical world of Wellington College. Molly’s role as wife and mother is clear, but her identity as a friend remains equally important.
Pranks and Authority
A later excerpt features Judy, Katherine, and Otoyo sneaking out after dark, veiled, to perform the “Musicians of Bremen” under a math teacher’s window. Their prank is elaborate: Judy brays like a donkey, Katherine crows, Otoyo mews. The scene is comic but also reveals the girls’ daring and the faculty’s watchfulness. President Miss Walker earlier remarked that “such terrible things seem to be happening all over the world,” linking campus mischief to a broader unease. The prank’s success depends on a dog’s howling providing cover, a detail that underscores the improvisational nature of their rebellion.
War Relief and Shifting Concerns
Chapter XVI is titled “War Relief,” signaling that the narrative moves beyond campus high jinks. The catalog subject “World War, 1914-1918 — Juvenile fiction” confirms that the war becomes a plot element. The excerpts do not detail the relief work, but the shift in tone from pranks to war-related activities suggests a maturation of the characters. The presence of a chapter called “The Trenches” (XXIV) indicates that the war’s impact reaches the college community directly. This progression from lighthearted mischief to serious engagement gives the novel a layered structure.
Mystery and Veiled Figures
Throughout the excerpts, veiled figures appear repeatedly. In the opening, three girls are described as “veiled, so evidently whatever they were doing they did not want to be recognized.” Later, the same trio uses veils during their prank. The motif of concealment—literal and figurative—recurs. A chapter titled “The Arrest” (XXII) and another called “A Death” (XIX) suggest that secrets have consequences. The reader is left to infer what the veiled girls are hiding and how their actions connect to the war relief and the larger plot. The incomplete excerpts leave these threads dangling, inviting curiosity.
The excerpts present a novel that balances domestic comedy, campus pranks, and the encroaching seriousness of World War I. The veiled figures and the chapter titles hint at a mystery that may involve the characters’ wartime activities. Readers should pay attention to how the playful tone of the early chapters gives way to graver concerns, and how the friendships forged at college are tested by external events. The book rewards attention to small details—like the upside-down letters or the Musicians of Bremen—that echo later developments.
Reading about Molly’s domestic peace, I remembered my own college friendships, how they frayed and mended. That quiet ache of holding onto who we were felt familiar. It surfaced again when I turned the pages of The Young Ranchers; Or, Fighting the Sioux — A Closer Reading, where loyalty is tested by open plains rather than parlors. The same thread of enduring under pressure, just worn differently.
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