The quest for the rose of Sharon — Story, Setting & Ideas
Edition facts
This digital edition of The quest for the rose of Sharon — Story, Setting & Ideas is described by source-level measurements including 47,732 words, 3 hr 28 min estimated reading time, and 20 detected text sections.
The text analysis averages about 15.6 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 “Inheritance and succession -- 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
but she was a queen dethroned.
From the moment of her arrival, grandaunt assumed charge of things; the house and everything therein contained were completely under her iron sway, and we bowed to her as humbly as did the serfs of the Middle Ages to their feudal lord, who held the right of justice high and low.
Dick and I were both too young, of course, to understand fully the great blow which had befallen us in father’s death. Dick was eight and I was six, and we had both grown up from babyhood with that blind reliance upon a benevolent and protecting Providence, characteristic of birds and children. We had no thought of danger--no knowledge of it. Now that the bolt had fallen, we were absorbed in a sense of personal loss; we knew that we should no longer find father in that long room under the eaves, with its great north light, and its queer costumes hanging against the walls, and its tall easel and its pleasant, pungent smell of paint. Once or twice we had tiptoed up the stairs in the hope that, after all, he _might_ be there--but he never was--only mother, sitting in the old, armless chair before the easel, the tears streaming down her cheeks, as she gazed at the half-finished painting upon it. I shall never forget how she caught us up and strained us to her--but there. The Prince had left his Kingdom, and the place was fairyland no longer--only a bleak and lonely attic which gave one the shivers to enter. Its dear spirit had fled, and its sweetness.
I have only to close my eyes to see Grandaunt Nelson sitting at the table-head, with mother at the foot, and Dick and me opposite each other midway on either side. Mother had been crushed by the suddenness of her loss, and drooped for a time like a blighted flower; but grandaunt was erect and virile--uncrushable, I verily believe, by any bolt which Fate could hurl against her. Her face was dark and very wrinkled, crowned by an aureole of white hair--a sort of three-arched aureole, one arch over each ear, and one above her forehead. Her lips were thin and firmly set in a straight line, moving no more than was absolutely necessary to give form to her words, so that sometimes her speech had an uncanny ventriloquial effect very startling. Her eyes were ambushed behind her glasses, which I never saw her without, and was sure she wore to bed with her. Her figure was tall and angular, and was clothed habitually in black, cut in the most uncompromising fashion. I must concede grandaunt the virtue--if it be a virtue in woman--that she never made the slightest effort to disguise her angles or to soften them.
These external characteristics were evident enough, even to my childish eyes; of her internal ones, a few made an indelible impression upon me. I saw that she pursued a policy of stern repression toward herself, and toward all who came in contact with her. If she had emotions, she never betrayed them, and she was intolerant of those who did. She thought it weakness. If she had affections, she mercilessly stifled them. Duty was her watchword. Again, one of the great aims of her existence seemed to be to keep the sunlight and fresh air out of the house--I believe she thought them vulgar--just as her mother and grandmother and greatgrandmother, I suppose, had done before her.
She converted our bright and sunny parlour into a gloomy, penitential place, that sent a chill down my back every time I peeped into it, which was not often. The only thing in the world she seemed afraid of was night air, and this she dreaded with a mighty dread, believing it laden with some insidious and deadly poison. To breathe night air was to commit suicide--though I have never been quite clear as to what other kind of air one can breathe at night.
The story opens with Cecil recalling Grandaunt Nelson as “always eccentric,” a judgment softened by time. The narrative voice is retrospective, looking back through “the mist of years.” The excerpts reveal a puzzle-centered plot: Cecil discovers a secret compartment in a desk, finds a tin box, but it contains only a note from the aunt belittling the search. The aunt’s note calls the hiding place “too obvious” and expresses doubt about Cecil’s perseverance. This sets up a treasure hunt where the real prize is not the box but the test itself.
The Puzzle of the Desk
The excerpts center on a physical puzzle involving a desk with pigeonholes. Cecil counts “four pigeon-holes to the right and then three diagonally” and presses a spring at the back, causing a “little door at the side of the desk” to fly open. The mechanism is described in precise, step-by-step detail, emphasizing the tactile experience: feeling the back move, touching a projection. The desk is a character in itself, with its “cunningly concealed” compartment. The puzzle is not merely intellectual; it requires physical manipulation and patience. The aunt’s note later mocks this, suggesting the puzzle was too easy: “Any fool could do that.” This tension between the apparent cleverness of the hiding place and the aunt’s dismissal hints at a deeper game.
Aunt Eliza’s Voice from Beyond
The aunt’s note is a key piece of evidence. It is addressed to “My dear Niece” and written in a sharp, judgmental tone. She states she removed the papers to “another hiding-place, to which the key which you have been given also applies.” The note is both a clue and a taunt: “I hope you will be successful; but I doubt it.” The aunt’s voice is present throughout the excerpts, even in death, shaping the quest. The narrative does not reveal what the key is or what the “rose of Sharon” refers to, but the aunt’s skepticism about Cecil’s “industry and patience” suggests the search is a character test. The note’s existence confirms that the aunt designed the puzzle deliberately, making the story as much about her personality as about the treasure.
Cecil’s Emotional Reactions
Cecil’s responses are vividly portrayed. Upon finding the box, he runs “frantically” to his mother, speaking in a “hoarse whisper.” When the box is empty, he faints, and mother bathes his face. He describes feeling “strangely weak and flabby” and is ashamed of his reaction. The mother scolds him: “if you’re going to take it this way, I think the sooner we get away from here the better.” These emotional swings—from high excitement to crushing disappointment—are central to the excerpts. The narrative focuses on Cecil’s inner state, not on external action. The puzzle is a vehicle for exploring his character under pressure. The aunt’s note directly challenges his perseverance, making the emotional stakes clear: success requires not just cleverness but resilience.
The excerpts offer a focused look at the opening of a mystery, but the full scope of the quest—including the meaning of “the rose of Sharon” and the nature of the inheritance—remains unknown. Readers should pay attention to the aunt’s note as a guide to the puzzle’s design. The story appears to reward close reading of physical details and character reactions. The catalog subjects of inheritance and family are clearly present, but the excerpts emphasize the puzzle structure and the aunt’s manipulative legacy.
Reading Cecil’s hunt through that mocking desk, I remembered my own grandmother’s sideboard—how I found a pressed violet in a sugar bowl, no note at all. That quiet ache of almost-meaning returned with Shadow in the House — A Reader’s Guide, where a lamp’s glow felt like a held breath. Shadow in the House — A Reader’s Guide made me miss her grammar, its patient silences.
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