Caprice — Key Ideas to Explore
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Before opening Caprice — Key Ideas to Explore, the edition data offers a quick orientation: 22,569 words, 1 hr 39 min estimated reading time, and 18 detected text sections.
The text analysis averages about 10.4 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 “London (England) -- 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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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
And why to-night were they not chaunting the Psalms?
Darting out her tongue, Miss Sinquier withdrew her head and resumed her book.
The room would soon be dark.
From the grey-toned walls, scriptural, a _Sasso Sassi_ frowned.
“In all these fruitful years,” she read, “the only instance he is recorded to have smiled was at a great rat running in and out among some statues.... _He_ was the Ideal Hamlet. Morose of countenance, and cynical by nature, his outbursts, at times, would completely freeze the company.”
Miss Sinquier passed her finger-tips lightly across her hair.
“Somehow it makes no difference,” she murmured, turning towards a glass. To feign Ophelia—no matter what!
She pulled about her a lace Manilla shawl.
It was as though it were Andalusia whenever she wrapped it on.
“_Fernan Perez? What do you want?_”
“_Ravishing Rosarda, I need you._”
“_I am the wife of Don José Cuchillo—the Moor._”
“_Dona Rosarda Castilda Cuchillo, I love you._”
“_Sh——! My husband will be back directly._”
Stretched at ease before a pier-glass, Miss Sinquier grew enthralled.
The room was almost dark.
Don José would wish his revenge.
Miss Sinquier got up.
She must compose herself for dinner—wash off the blood.
She glanced about her, a trifle Spanish still.
From a clothes-peg something hanging seemed to implore.
“To see me? Why, bless you. Yes!”
With an impetuous, pretty gesture she flung it upon a couch.
“How do I like America?”
“I adore it.... You see ... I’ve lost my heart here—! Tell them so—oh! especially to the men.... Whereabouts was I born? In Westmorland; yes. _In England, Sir!_ Inquisitive? Why not at all: I was born in the sleepy peaceful town of Applethorp (three p’s), in the inmost heart—right in the very middle,” Miss Sinquier murmured, tucking a few field flowers under her chin, “of the _Close._”
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“SALLY,” her father said, “I could not make out where you sat at Vespers, child, to-night.”
In the old-world Deanery drawing room, coffee and liqueurs—a Sunday indulgence—had been brought in.
Miss Sinquier set down her cup.
Behind her, through the open windows, a riot of light leaves and creepers was swaying restively to and fro.
“I imagine the _Font_ hid me,” she answered with a little laugh.
Canon Sinquier considered with an absent air an abundant-looking moon, then turned towards his wife.
“To-morrow, Mary,” he said, “there’s poor Mrs. Cushman again.”
At her cylinder-desk, between two flickering candles, Mrs. Sinquier, while her coffee grew cold, was opening her heart to a friend.
“Do, Mike, keep still,” she begged.
“Don’t fidget. Don’t talk.”
“Or dare to breathe,” her daughter added, taking up a Sunday journal and approaching nearer the light.
“‘At the Olive Theatre,’” she read, “‘Mrs. Starcross will produce a new comedy, in the coming autumn, which promises to be of the highest interest.’”
“‘At the Kehama, Yvonde Yalta will be seen shortly in a Japanese piece, with singing mandarins, geishas, and old samurai—’”
“‘Mr. and Mrs. Mary are said to be contemplating Management again.’”
“‘For the revival of _She Stoops to——_’”
Crescendo, across the mist-clad Close broke a sorrowful, sated voice.
“You can fasten the window, Sarah,” Canon Sinquier said.
“Who could have taught her? How?” the Canon wondered.
Mrs. Sinquier laid down her pen.
“I dread her intimate dinner!” she said.
“Is it to be intimate?”
“Isn’t she always? ‘Come round and see me soon, Miss Sarah, _there’s_ a dear, and let’s be intimate!’”
“Sally can take off anyone.”
“It’s vulgar, dear, to mimic.”
“I’d bear a good deal to be on the stage.”
Canon Sinquier closed his eyes.
“Recite, dear, something; soothe me,” he said.
“Of course, if you wish it.”
“Something to obliterate the sermon?”
Miss Sinquier looked down at her feet. She had on black babouches all over little pearls with filigree butterflies that trembled above her toes.
“_Since first I beheld you, Adele, While dancing the celinda, I have remained faithful to the thought of you; My freedom has departed from me,_ _I care no longer for all other negresses; I have no heart left for them;— You have such grace and cunning;— You are like the Congo serpent._”
Miss Sinquier paused.
“You need the proper movements....” she explained. “One ought _really_ to shake one’s shanks!”
“Being a Day-of-rest, my dear, we will dispense with it.”
“_I love you too much, my beautiful one— I am not able to help it. My heart has become just like a grasshopper,— It does nothing but leap. I have never met any woman Who has so beautiful a form as yours. Your eyes flash flame; Your body has enchained me captive._
The opening pages of Caprice establish a world of clashing bells—S. Mary's 'uncontrollable hilarity' against S. Ann's 'cracked, consumptive' complaint—before settling on Miss Sarah Sinquier at her bedroom window. She yawns at the cathedral spires, fantasises about her conversion causing a stir ('Canon Sinquier's only daughter has gone over to Rome'), and croons a music-hall lyric about kisses 'on the steps by Bakerloo.' The juxtaposition of sacred architecture and theatrical daydreaming is immediate.
Ecclesiastical and Theatrical Crosscurrents
The novel's setting oscillates between a cathedral close and a London green-room. In the opening, Sarah peers out at 'Lady Caroline Dempsey’s Catholic footman' and imagines her own conversion as a piece of parochial theatre. Later, the action shifts to a theatre where a knighthood is conferred on 'Mr. Mary, in lieu of Mr. Fisher'—a mistake that sparks 'intense' excitement. The green-room chatter mixes French affectations ('zell is birs-r-rite for a mess of porridge') with gossip about the Queen's gold dress. Firbank treats both sacred and profane spaces as stages for performance.
Dialogue as Caricature
Firbank's dialogue is compressed and camp. Characters speak in non sequiturs and arch asides: 'I’ve never seen a man knighted,' a show-girl twitter, 'and I’ve seen a good deal....' Mrs. Sixsmith, selling sweets in the vestibule, reports the knighting with breathless detail—'the King instantly noticed him'—while her dresser mutters, 'both the blighters... are equally on their last legs.' The exchanges are rapid, often interrupted by entrances or asides, and the characters are defined by their verbal tics: Yvonde Yalta's affected gratitude, the 'sparkling brunette' who pats a colleague with a brush. The effect is a mosaic of brittle, theatrical voices.
Theatrical Economy and Social Climbing
The excerpts hint at a plot driven by ambition and misrecognition. Sarah Sinquier, the canon's daughter, becomes 'the new star with the naughty name,' and a 'Double Engagement' is mooted. The knighthood mix-up—'Mr. Mary—Sir Maurice'—suggests a world where identity is fluid and status is conferred by accident. Mrs. Sixsmith's role as a sweet-seller who witnesses the royal party underscores the permeability between backstage and front-of-house. The novel's comedy arises from the collision of provincial piety and metropolitan theatricality, with characters constantly performing for one another.
Readers should attend to Firbank's use of ellipsis and interruption, which mimics the rhythm of gossip and stage banter. The novel's brevity (under 23,000 words) rewards attention to its verbal textures—the way a single line can deflate a character's pretensions. The excerpts do not reveal the full arc of Sarah's venture, but the pattern of mistaken identity and theatrical self-fashioning is already in place.
That wet afternoon, Firbank's arch cathedral chatter kept me company while rain blurred the windows. Miss Sinquier's escape felt almost reckless, yet oddly familiar. Later, turning a page, I thought of a different, greyer London—and found myself reaching for The unpleasantness at the Bellona Club — Themes and Context. A club death, not a knighthood mix-up, but the same quiet sense of brittle manners over something unresolved.
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