Folly Corner — Context and Discussion

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Dudeney, Henry, Mrs., 1866-1945 Project Gutenberg 2023 Not confirmed
England -- Fiction; Triangles (Interpersonal relations) -- Fiction; Man-woman relationships -- Fiction Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 88,333
Reading time 385 min
Text sections 27

For Folly Corner — Context and Discussion, the stored edition analysis reports 88,333 words, 6 hr 25 min estimated reading time, and 27 detected text sections.

The text analysis averages about 12.9 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 “England -- Fiction,” connecting these edition facts with the source record’s subject description.

Mrs. H. Dudeney's 1900 novel opens with a woman's desperate vigil outside Wormwood Scrubs prison, then shifts to rural Folly Corner, where a love triangle unfolds amid sharp observations of class, marriage, and deceit.
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Editorial Edition Score 4.9/5

Calculated from edition completeness, EPUB availability, text structure and catalogue metadata. Not a user rating.

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  • 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.

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THE steam of that stifling London day rose up in a choking, enervating haze from the hot grass. The shrill cries of children, loose from the Board School, cut the thick air. A train rushed across the bridge. Two or three cyclists tinkled their bells irritably as they spun down Wood Lane to the Uxbridge Road, leaving a cloud of gray grit behind them. Omnibuses pulled up at the corner of the short street near the few newly-built shops. From Portobello Road came the heavy rumble of more traffic, mixed with the nearer shout of costers vending dried fish and over-ripe fruit.

She was a young woman. She stood still, in a limp, hopeless attitude, her face turned on Wormwood Scrubbs, her strained eyes vacantly fastened on the buildings, spires, and chimneys in the distance.

Some simple sound from the frowning prison on her left made her turn her head with the swift, watching movement of a cat. But there was nothing to see; no hint, no hope. Behind those walls! Her throat, rising white and firm from the tumbled collar of the cotton blouse, contracted. Those walls! those impenetrable walls! those relentless walls!

She put out two hands in baggy gloves; she held them up, flat palms upward, toward the speechless prison. Her attitude was one of strong appeal, of hope, almost--as if she half expected that despair would work a miracle. They stretched out, big, strong, shapeless in the old gloves--those quivering, appealing hands of hers.

With a sharp agonized movement of the wrists she let her hands drop nervelessly to her side. A sob was strangled in her throat; she turned her head abruptly, so that her eyes no longer rested on the walls. With a sudden impulse she started running across the grass; ran across the road and under the bridge to the spot where an omnibus was waiting.

It grew dusk as she rattled back on the garden-seat to London. One by one the lights of night gleamed out. The life of night began. She looked down and saw the interior of smoothly rolling carriages, with women in evening dress lying idly back inside. Women on foot, smartly clad and with happy faces, flitted along the white pavements. Women clambered to the top of the omnibus, chattering and tittering. The one who sat next her glanced curiously at her grim mouth and shadowed eyes.

The lights grew thicker; fantastic chains of light--red and yellow. London glittered like some fairy mine of jewels: jewels already cut and polished, every facet gleaming. Words winked out letter by letter, then vanished. She saw them come and go on the fronts of the houses. OX FORCE--NINON SOAP--DUNN’S NOSTRUM. To her strained senses they lost all common meaning and symbolized the weird, the threatening, the unknown.

It was blinding hot in the market town that Wednesday. Sheep straggled into the pens; the drovers choked and cursed as the dust dried in their throats. A smart trap, driven by a girl, with a groom behind, bowled down the High Street, leaving behind an impression of coolness and smartness. Now and again a sharp, imperious cycle-bell cut the air, and as some female cyclist darted by pedestrians heard the soft flutter of sleeves, like the flapping sails of a yacht.

A man came, with a slightly rolling walk, down the street. He made an imperial progress, nodding his head bluffly to deferential shopkeepers who stood at their doors, exchanging a jovial word or so with other substantial yeomen. Everyone knew and respected Jethro Jayne--“Young Jethro” of Folly Corner. Everyone in and around Liddleshorn knew that there had been Jaynes at Folly in unbroken succession since before the days of Cromwell.

He was a picturesque figure, with his open, weather-tanned face, his clean-shaven lip, his buff breeches, and brown gaiters. He wore a linen coat and a flapping white linen hat. His eyes were lazily merry and roguish under the starched brim.

He turned in at the door of the inn, with the low-pitched, paneled dining-room, where most of the farmers dined on market-day.

A round-faced, pretty girl brought him his plate of beef and his two vegetables. Bread and cheese, and a jug of sweet cider, completed the meal.

He looked at her thoughtfully whenever she approached: so very blue-eyed and round; such a plump, neat figure in a black gown! He looked at her through a strong cloud of smoke as he puffed at his pipe and drank a last glass of the cider. She had suggested something. He was thoughtfully asking himself, Why not?

The novel begins not with a country house but with a young woman standing on Wormwood Scrubs, her face turned toward the prison walls. The prose is immediate and sensory: the steam of a stifling London day, the shrill cries of children, the grit of traffic. Her hands, in baggy gloves, stretch out in a gesture of appeal—'as if she half expected that despair would work a miracle.' This opening tableau, with its raw emotion and urban grit, sets a tone of entrapment and longing that will echo through the story.

From this prologue, the narrative moves to the rural setting of Folly Corner, where Pamela, now married to Jethro, finds herself caught between her husband and her brother Edred. The excerpts suggest a novel that alternates between claustrophobic interiors and the open landscape, between the weight of domestic routine and the thrill of transgression.

A Prologue of Desperate Gestures

The prologue is a concentrated piece of writing, dense with physical detail and emotional intensity. The woman's posture—'limp, hopeless'—and her repeated focus on the prison walls ('those impenetrable walls! those relentless walls!') establish a motif of confinement. Her hands, described as 'big, strong, shapeless in the old gloves,' are both powerful and powerless. The journey back to London by omnibus is rendered through a series of contrasts: the glittering carriages of the wealthy, the 'happy faces' of women on foot, and the grim mouth of the protagonist. The city at night becomes a 'fairy mine of jewels,' a phrase that hints at both allure and artificiality. This prologue, though brief, introduces a character defined by longing and a world divided by class and circumstance.

The Knot at Folly Corner

The middle excerpt reveals the central triangle: Pamela, her husband Jethro, and her brother Edred. The scene at the railway station is charged with tension. Edred's kiss—'turbulently on her closed eyes, through the crisp net, on her burning cheeks and dry lips'—is both intimate and possessive. Jethro's presence, 'steely eyes' watching, turns the farewell into a confrontation. The dialogue is sparse but loaded: Edred's claim that he and Pamela are 'chums' rings hollow against the physical evidence. After Edred departs, the narrative shifts to mundane details—the name of a kitchen range, a drive home—that underscore Pamela's inner numbness. The telegram that arrives later, summoning her to London, sets the plot in motion with a sense of inevitability.

Night, Guilt, and the Natural World

The later excerpt deepens the atmosphere of secrecy and dread. Pamela waits under a yew tree, her bag and umbrella 'a grotesquely modern touch beside the silence and starlight.' The natural world is both beautiful and menacing: the night-jar calls harshly, a beetle dashes against her face, and from the stall come the 'loud, human-sounding, trumpeting moans' of a calving cow. This juxtaposition of the domestic (the cow, the lantern) with the clandestine (the hidden figure, the waiting) creates a powerful sense of unease. The church clock striking a quarter to eleven marks time with precision, while the 'tortured cow' becomes a symbol of Pamela's own pain. The prose here is vivid and tactile, grounding emotional turmoil in physical sensation.

Voice and Structure: What the Excerpts Reveal

Dudeney's prose is characterized by short, punchy sentences and a preference for concrete nouns over abstraction. She uses repetition for emphasis ('Those walls! those impenetrable walls!') and often shifts from external description to internal feeling without transition. The narrative voice is close to Pamela, but not exclusively; the prologue's third-person perspective allows for a certain distance. The structure, as suggested by the chapter list, is linear but with a prologue that functions as a hook. The excerpts do not reveal the novel's resolution, but they establish a pattern of entrapment and escape, of public facades and private desires. Readers should pay attention to the recurring imagery of walls, hands, and light—these are not decorative but structural.

As you read, note how Dudeney uses setting to mirror emotional states: the oppressive London heat, the quiet menace of the countryside. The love triangle is not merely romantic but a vehicle for exploring power, loyalty, and the limits of freedom. The excerpts offer a rich sample of the novel's texture, but the full work may complicate the sympathies established here. Approach the text with attention to its sensory details and its silences—what characters do not say often matters as much as what they do.

That rainy afternoon, Folly Corner kept me company, its damp Surrey fields and quiet deceits lingering long past the final page. Something in Mrs. Dudeney’s portrayal of solitary yearning stayed with me, an ache I couldn’t name. Later, almost without deciding to, I pulled up Rachel Dyer — Context and Discussion. It felt like stepping into a neighboring room of the same old house, different weather, same chilled glass against the palm.

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