Norman Vallery; or, How to Overcome Evil with Good — Story, Setting & Ideas

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Kingston, William Henry Giles, 1814-1880 Project Gutenberg 2008 Not confirmed
Christian life -- Juvenile fiction; Children -- Conduct of life -- Juvenile fiction; Siblings -- Juvenile fiction Readers of public-domain and historical texts
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Edition facts

Words 70,422
Reading time 307 min
Text sections 6

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An editorial note on W.H.G. Kingston's Norman Vallery, focusing on authorial choices in diction, dialogue, and description, with observations on the opening scene, sibling dynamics, and the fishing episode.
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Norman had lived with his parents in India, where his father was a soldier. His sister, a little older, had been brought back to England some years before, to be brought up by her kindly old grandmother. That was the custom in those days. At the start of the story Norman and his parents are arriving in England, but right from the start he behaves intolerably.

Eventually various people treat him with kindness, and he begins to see that kindness is a more profitable way to work with others. Furthermore there is a serious incident in which he is hurt, really through his own fault, and in which another child to whom Norman has been unkind proves to be his saviour. Ultimately he goes away to a proper boarding school where he gets excellent marks for his behaviour. He is a changed boy!

________________________________________________________________________ NORMAN VALLERY, BY W.H.G. KINGSTON.

JUST COME FROM INDIA.

"Are they really coming to-morrow, granny?" exclaimed Fanny Vallery, a fair, blue-eyed, sweet-looking girl, as she gazed eagerly at the face of Mrs Leslie, who was seated in an arm-chair, near the drawing-room window. "Oh, how I long to see papa, and mamma, and dear little Norman! I have thought, and thought so much about them; and India is so far off it seemed as if they would never reach England."

"Your mamma writes me word from Paris that they hope to cross the Channel to-night, and be here early in the afternoon," answered Mrs Leslie, looking at the open letter which she held in her hand. "I too long to see your dear mamma; and had it not been for you, my own darling, I should have missed her even more than I have done; but you have ever been a good, obedient, loving child, and my greatest comfort during her absence."

Mrs Leslie, as she spoke, drew her grandchild towards her, and kissed her brow.

Fanny said nothing, but, pressing the hand which held hers, turned her eyes towards her grandmamma's face, while the consciousness that the praise was not wrongly bestowed, caused a bright gleam of pleasure to pass over her countenance.

Mrs Leslie, who had brought up Fanny from her infancy, lived in a pretty villa a few miles from London, surrounded by shrubberies, with a lawn and beautifully-kept flower-garden in front. On one side was a poultry-yard, over which Fanny presided as the reigning sovereign; and even Trusty, the spaniel, who considered himself if not the ruler at all events the guardian of the rest of the premises, when he ventured into her domain always followed humbly at her heels, never presuming to interfere with her feathered subjects. More than once he had been known to turn tail and fly as if for his life when Phoebe, the bantam hen, with extended neck and outspread wings had run after him, as he had by chance approached nearer to her brood of fledglings than she had approved of.

Fanny with her fowls, Trusty, and Kitty, the tortoiseshell cat; and her doll, which had a house of its own fitted with furniture; and, more than all, with the consciousness of her granny's affection, considered herself one of the happiest little girls in existence. Everybody in the house, indeed, loved her; and she was kind, and gentle, and loving to every one in return.

Her mamma--Mrs Leslie's only daughter--had married Captain Vallery, an officer in the Indian army, while he was at home on leave, and had accompanied him to the East. She returned three or four years afterwards, in consequence of ill health, bringing with her little Fanny, who, when she went back to her husband, was left under charge of her mother, Mrs Leslie.

Great as was Mrs Vallery's grief at parting from her child, she well knew, from her own experience, with what wise and loving care she would be brought up.

Captain Vallery was of a French Protestant family, but having been partly educated in England, and having English relations, he had entered the British army. He was considered an honourable and brave officer, and was a very kind husband, but Mrs Vallery discovered that he had certain peculiar notions which were not likely to make him bring up his children as she would desire. One of his notions was, that boys especially, in order to develop their character, as he said, should always be allowed to have their own way.

"But, my dear husband," she pleaded, "suppose that way should prove to be a bad way, what then will be the consequence?"

The novel opens with a domestic scene that immediately establishes a moral hierarchy. Fanny Vallery, described as 'fair, blue-eyed, sweet-looking,' is contrasted with her grandmother's praise of her as 'good, obedient, loving.' The description of the poultry-yard, where Fanny presides as 'reigning sovereign' and the spaniel Trusty defers to a bantam hen, uses animal behavior to mirror human virtues of gentle authority and order. This early passage signals that character will be revealed through action and dialogue rather than authorial sermonizing.

Dialogue as Moral Indicator

Kingston uses dialogue to expose character flaws and virtues without overt commentary. When Norman insists on fishing, his speech is peppered with imperatives and complaints: 'I want to go back and begin fishing,' 'we are wasting our time here,' and 'I shall never catch anything with this stupid stick and string.' His petulance is contrasted with Sandy's measured, dialect-inflected responses: 'Yours is very valuable time, young gentleman, I doubt not.' The boatman's use of Scots ('canna,' 'pit quiet') grounds him in a specific regional identity, while Norman's standard English marks him as an outsider. Fanny's few lines are conciliatory ('Indeed, I will not'), reinforcing her role as peacemaker.

Descriptive Contrasts: Light and Gloom

The loch and gorge sequence relies on stark visual contrasts. The 'bright sunshine' of the loch gives way to 'the gloom of the narrow gorge with lofty cliffs arching overhead,' where only 'a narrow strip of blue sky' is visible. This shift from openness to confinement mirrors Norman's emotional trajectory from anticipation to frustration. Kingston's descriptive economy—'the loch, which looked brighter and more beautiful than ever after the gloom of the gorge'—uses landscape to underscore a moral lesson about perspective. The setting is not merely scenic but functional, reinforcing the theme of overcoming evil with good through patience.

The Fishing Episode as Character Crucible

The fishing scene condenses multiple authorial strategies. Norman's impatience is shown through physical action: 'throwing in his line,' 'pulling up his line,' and finally 'threw it away from him into the loch, and began dancing about.' Sandy's responses—adjusting the float, offering advice, and later promising an evening outing—demonstrate a patient, corrective approach. The empty basket becomes a symbol of Norman's failure, which he blames on Fanny ('It's all Fanny's fault'). Kingston avoids direct moralizing; instead, the dialogue and action carry the weight. The episode ends with Sandy's quiet authority and Norman's grudging compliance, leaving the reader to infer the lesson.

Voice and Register: Scots vs. Standard English

Kingston differentiates characters through linguistic register. Sandy's Scots ('your ain,' 'canna,' 'pit quiet') marks him as a local, wise figure, while the Vallery family speaks standard English. This linguistic divide reinforces social and moral hierarchies: Sandy's dialect is associated with practical knowledge and patience, while Norman's standard English accompanies his petulance. Fanny's speech is polite and deferential, aligning her with her grandmother's values. The author does not explain these differences; they emerge organically through dialogue, inviting readers to infer character from language.

Readers attentive to Kingston's craft will notice how he embeds moral instruction in the texture of everyday events. The fishing trip, the poultry-yard, and the grandmother's praise are not mere backdrop but active elements in a system of ethical demonstration. The author's restraint—letting dialogue and description carry the weight—makes the novel more than a didactic tract. It rewards close reading of its verbal and visual patterns.

Sometimes, when I close Norman Vallery, I think of that other quiet soul, the prince in his tower. They both knew the slow work of kindness, the patient turning of a heart toward light. Both books share a gentle faith that goodness, however small, takes root. I keep them near each other on my shelf. The Little Lame Prince Rewritten for Young Readers by Margaret Waters — Story, Setting & Ideas holds a similar warmth, a quiet kinship I’ve long cherished.

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