A Christmas Posy — Edition Insights
Edition facts
For A Christmas Posy — Edition Insights, the stored edition analysis reports 49,669 words, 3 hr 36 min estimated reading time, and 6 detected text sections.
The text analysis averages about 17.6 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 “Conduct of life -- Juvenile fiction,” connecting these edition facts with the source record’s subject description.
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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.
Read the Text
Auntie was a little calmer by now. She looked up with a piteous expression in her still white face.
"My dears, my dears," she said, "you must not be vexed with me, and yet I feel that you have a right to be so. I have had such a misfortune--I have lost--just now, on my way to or from the bank, I don't know which--I have _lost_ dearest mother's--your grandmother's old watch! And with it the locket that was always attached to it, you know--the one with _her_ great-grandfather's and his daughter's hair."
"I know," said Molly, "gray hair on one side and bright brown like Sylvia's on the other. Oh, Auntie, Auntie--_poor_ Auntie."
And Sylvia flung herself down beside poor Auntie and burst into tears of sympathy. It was sweet to Aunt Laura, even in the midst of her acute distress, to feel that their first thought was not for the loss itself--much as it could not but touch them--but of sorrow for _her_.
"Grandmother's old watch--grandmother dear's old watch," repeated the two girls, as if they could not believe it. The old watch they remembered all their lives, whose face was almost as familiar to them as that of grandmother herself--the watch and locket which seemed almost a part of her--it was terrible, it was too bad to be true!
"How did it happen?" said Sylvia, trying to choke down her tears. "Tell us more, Auntie. Can nothing be done? You don't think it was stolen?"
"No--I feel sure I dropped it. I remember now that it was not securely fastened. That is what vexes me so terribly--to think it was my own fault! Oh, Sylvia--oh, Molly, when I saw it was gone I felt as if I should go out of my mind! It was just as I came out of the bank that I missed it, but it may have dropped some minutes before. I was hesitating as to whether I should have time to walk home, or if I should take a _coupé_ so as to get back to you quicker, my dears----"
"And we had made all so cosy for you--such a dear little tea--just look, Auntie;" and herself casting a glance round at their pretty preparations, Molly's tears flowed afresh.
"I had a presentiment," said Sylvia. "But go on, Auntie."
"And I looked at my watch--I mean, I was going to do so," continued Auntie, "and found it was gone. Of course I ran back to the bank, but it was not there. I rushed up and down the street and asked everybody I saw--I even went into some of the shops--I am afraid I must have seemed quite dazed. Then my only idea was to get back to you, so I called a _coupé_ and----" here poor Auntie broke down again.
"And is there nothing to be done?" repeated Sylvia.
"The coachman," said Auntie, "the coachman advised me to go to the 'commissaire de police' nearest to where I lost it. I have the name of the street. So now that I have seen you, I will go there at once," and she rose as she spoke. "Take my bag, Molly dear," she added, handing it to her. "The money is in it."
"It is a good thing _it_ wasn't lost too," said Molly, whose spirits were already beginning to reassert themselves. "But, Auntie, you must have some tea before you go. It is _quite_ ready."
Auntie, whose hand was already on the door, was beginning to refuse when Sylvia interrupted. "Yes, Auntie dear, you _must_," she said. "And while you are taking it, it will give me time to get ready."
"You, my child! I will not let you come--with your cold too."
"My cold is very little, Auntie dearest; I must come--I should come," she added pleadingly. "You can't go about by yourself, so upset as you are too. _Grandmother_ told me I was to take care of you. Yes, Molly dear, I know you would go, but I am a year and nine months older," continued Sylvia, rising to the dignity of her nineteen years. "It is right I should go."
She gained the day, and so did Molly, to the extent of persuading her aunt to swallow a cup of tea,--what a different tea-taking to that they had been looking forward to!--and in five minutes Auntie and Sylvia were driving along the streets which the former had but so lately passed through.
"Poor Molly," said Auntie.
"She will be getting up her hopes and expecting us to bring back good news," said Sylvia. "Well, we _may_ find it, Auntie. They say honest people _sometimes_ take things at once to the nearest police-office."
The collection begins not with a Christmas scene but with a quiet farewell in a Paris salon on New Year's Eve. Sylvia and Molly watch their aunt leave, and the narrator notes that Sylvia is 'remembering how different it was this day last year.' The story, titled 'Grandmother Dear's Old Watch,' immediately establishes a tone of gentle melancholy and family bonds. The sisters' dialogue—'Couldn't you wait till the day after to-morrow?'—reveals their reluctance to be left alone, while the aunt's private thoughts about 'poor Sylvia' and 'dear Molly's good spirits' set up a pattern of caring adults and vulnerable children.
A Parisian Opening and a Sisterly Bond
The first story opens with specific, concrete details: the 'lace-shrouded windows' of a Paris apartment, the 'handsome marble stairs,' and the date—December 31st. The sisters Sylvia and Molly are not generic Victorian children; Sylvia is described as sad, Molly as spirited. The aunt's internal monologue—'I cannot make up to you for grandmother'—hints at a recent loss without explaining it. This restraint is typical of Molesworth's approach: she trusts readers to infer grief from behavior. The excerpt also shows the sisters watching their aunt from a 'tiny balcony,' a small but vivid detail that grounds the scene in a real, observed space.
Basil's Violin and the Weight of Poverty
In 'Basil's Violin,' the narrative shifts to a boy's moral dilemma. Basil's teacher, Herr Wildermann, admits he is poor: 'We are very poor. And also I had hoped much from giving you lessons.' The exchange is remarkable for its directness about money—a subject often softened in children's literature. Basil, initially slow to understand, eventually says, 'I did not understand before. If I had known—but even now it is not too late.' The story does not resolve the problem quickly; instead, it shows Basil negotiating a compromise of six more lessons. The teacher's pride—'It would be a mere charity to me'—adds complexity, and Basil's internal resolve ('I believe I could have got on if I had really tried') suggests a coming-of-age moment.
Recurring Patterns: Loss, Responsibility, and Christmas
Across the excerpts, certain patterns emerge. The opening story involves a missing watch (the 'old watch' of the title), while 'Basil's Violin' centers on the threat of losing lessons. Both hinge on objects that carry emotional or financial weight. The Christmas setting is understated: the first story takes place on New Year's Eve, and the collection's title promises a 'posy' of holiday tales, but the excerpts focus more on everyday trials—sadness, poverty, the need to make amends. The illustrations by Walter Crane, listed in the contents, suggest visual emphasis on key moments: a sister at a balcony, a boy with a violin, a dog wagging its tail. These images likely reinforce the stories' domestic, sentimental tone.
The Author's Voice: Directness and Restraint
Mrs. Molesworth's prose is notable for its plainness and emotional control. She avoids melodrama even in tense scenes: when Basil's teacher says, 'It is all settled,' the sentence is flat, resigned. The narrator rarely intrudes with moralizing; instead, lessons emerge from characters' choices. In the first story, the aunt's tears are mentioned but not dwelled upon. The dialogue carries the weight—Sylvia's sigh, Molly's eagerness, Basil's hesitant questions. This restraint may make the stories feel understated to modern readers accustomed to more explicit sentiment, but it also gives the characters room to act with dignity. The collection, published in 1888, reflects a late-Victorian interest in children's inner lives and ethical growth.
As you read A Christmas Posy, pay attention to how Molesworth uses small, tangible objects—a watch, a violin, a missing bonbon—to anchor larger emotional conflicts. The stories reward careful attention to dialogue and gesture; characters often reveal more through what they leave unsaid. The collection is best approached as a series of quiet, character-driven vignettes rather than a single narrative arc. Let the illustrations by Walter Crane guide your eye to the moments the author considered pivotal.
Reading Mrs. Molesworth's gentle tales, I was struck by how quietly her children learn to tell the truth, almost by accident. It reminded me of another small world where honesty is woven into daily rhythm rather than declared. The same warmth flickers through. The Tale of Rusty Wren — Reading Companion holds that similar, unhurried hush, as if winter light were falling across a windowsill where a watch or a feather simply waits to be found.
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