Dorothy at Oak Knowe — Context and Discussion

(7 User reviews)   1946
In Category - School Stories
Raymond, Evelyn, 1843-1910, Mencl, Rudolf [Illustrator] Project Gutenberg 2010 Not confirmed
Schools -- Juvenile fiction; Teenage girls -- Juvenile fiction; Canada -- Juvenile fiction; Mystery and detective stories; Missing children -- Juvenile fiction; Boarding school students -- Juvenile fiction; Young women -- Social life and customs -- Juvenile fiction; Chester, Dorothy (Fictitious character) -- Juvenile fiction; Americans -- Canada -- Juvenile fiction Readers of public-domain and historical texts
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Words 61,606
Reading time 268 min
Text sections 6

For Dorothy at Oak Knowe — Context and Discussion, the stored edition analysis reports 61,606 words, 4 hr 28 min estimated reading time, and 6 detected text sections.

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Project Gutenberg metadata also associates the work with “Schools -- Juvenile fiction,” connecting these edition facts with the source record’s subject description.

Evelyn Raymond's school story uses a brisk, colloquial narrative voice that shifts between Dorothy's panicked interiority and the Lady Principal's measured authority. The opening's cacophony of hackmen contrasts with the hushed, candlelit search for a missing girl, revealing how pace and sensory detail shape the mystery.
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They had passed out of the city streets into the open country, the oxen swaying and pacing sedately along, as if it mattered nothing how late they might reach home. To pass the time, Dorothy asked the old man to talk about his own travels, and he promptly answered:

"In course, and obleeged for anybody to care to listen. Dame has heard my yarns so often, she scoffs 'em; but I've seen a power o' things in my day, a power o' things. I was born in Lunnon, raised in Glasgo', run away to Liverpool and shipped afore the mast. From sailor I turned soldier under Chinese Gordon--Ah! the man he wus! Miner, constable, me Lord's butler, then his cook, and now, at the fag end of my days, settled down to be my Dame's right-hand-man. She was a likely widow, coming from England to take up land here, and I met her aboard ship, last time I crossed seas. Didn't take us long to strike a bargain. She needed a man to till her farm; I needed a good woman to mend me and do for me, for I was that tired of rovin'--my hearties! We get along well. We get along prime. I do the talking and her does the thinking. She's that uncommon thing--a silent woman. Like to hear how I come nigh-hand to death along of a devil fish? Want to feel your hair rise on end and your arms get reg'lar goose-fleshy? Makes me nigh get that way myself, every time I recall--Whist! If that ain't thunder I'm a-dreamin', sure! Thunder this season of the year! Now that's fair ridic'lous. But mentionin' devil fish, yon comes one them red go-devils, Dame calls 'em, as squawkin', blazing-eyed automobeelyers--comin' this minute. No marvel natur' gets topsy-turvy with them wild things ramsaging round. But, quick, lassie! Do your young eyes see something or somebody lying beyond in the middle of the road?"

The old man checked his garrulous tongue to rise and peer into the darkness, while Dorothy sprang to her feet beside him, straining her own eyes to follow his pointing finger.

"There is, there is! Looks like a man or boy or bicycle or something and that horrid car is coming right toward it! Make 'em stop! Holloa! Loud, loud, for they don't see him! they'll run over him--he'll be killed!"

But still the gay occupants of the car observed nothing; till at last a fiercer shriek from Dorothy sounded above their laughter and instantly hushed it, while the driver of the machine looked curiously at the cart which the wise oxen, perceiving their own danger, had drawn out of harm on the roadside. But the stop had been too late. Though the motor was swerved aside, it had already collided with the objects in its path, and it was in a terrified silence that the merrymakers descended from it.

But even old John had been quicker than they and was now bending above the lad crushed beneath the forward wheels of this hated "go-devil."

"Oh! my poor lad! Oh! my sunny Robin!" he groaned: then in a fury of anger at the great machine, tried his strength to lift it from its victim.

Fortunately there were several men in the party, and the car well equipped against mischance, and so it was swiftly forced away, while the farmer again stooped over the motionless lad beneath and tenderly raised him in his arms. For a moment the group gathered about the pair believed that the boy was dead; then a low moan from his white lips mingled with the lamentations of John Gilpin and brought relief to everyone.

Again came flashes of lightning and the growls of thunder, and the owner of the car exclaimed:

"Lay the boy in the motor and we'll get him to a hospital at once. Maybe he isn't so badly hurt as seems. Pile up the cushions, somebody, and give him to me, old man. I'm stronger than you and better used to sick folks. Doctor Winston is my name."

"The more shame to you then for what you've done this night!" hotly retorted old John, clasping his burden the closer and moving slowly toward his own humble cart.

"Idiot! Don't put him in that shaky wagon. Delay may cost his life. Hospital's the place and the car is swiftest!" cried another of the gentlemen, indignantly. "Of course we'll see to it that he has the best of care with no expense spared."

As if he had not heard, old John still moved away, quietly ordering Dorothy:

"Undo that shawl of yours. Roll them barrels out of the wagon. Take off your jacket and make a piller of it. Spread the shawl out and cover him with part of it whilst I lay him down. Poor little Robin! The 'only son of his mother and she was a widow.'"

Dorothy was glad to obey this strange old man who had been so genial and was now so stern, and it relieved her distress to be doing something to help. But as she tried to roll the barrels out, a hand fell on her arm and the doctor said:

"I'll do that, Miss. They're too heavy for you. I wish you'd persuade your grandfather to trust me with this poor boy. It would be so much better."

"He isn't my grandfather. I don't know him--I mean he was taking me--"

But her words fell upon deaf ears, apparently. Having sent the empty barrels flying where they would, the doctor had now taken the pile of cushions somebody had brought him and arranged them on the wagon bottom. Next he calmly relieved John Gilpin of the injured boy and laid him gently down. Shaking out Dorothy's thick steamer rug, her "shawl," he carefully covered Robin and, sitting down beside him, ordered:

"Drive on, farmer! Chauffeur, follow with the car. Lady Jane, the medicine case. To the nearest house at once."

There was no resisting the firm authority of the physician and John Gilpin climbed meekly to his seat and at his urgent "gee-ho" the oxen started onward at a steady gait. But despite his anxiety there was a satisfaction in their owner's mind that the "nearest house" would be his own and that it would be his capable "Dame" who would care for Robin and not a hospital nurse.

Meanwhile Dorothy seemed forgotten both by the people who had returned to their car and Mr. Gilpin; so, fearing that she would be left alone by the roadside, she sprang upon the end of the cart and sat there, her feet dangling over its edge.

Now, indeed, her adventure was proving anything but amusing. What would Aunt Betty think of her heedless action? Or her dear guardian, Seth Winters, the "learned Blacksmith," wisest of men, whom the reader of this series will recall in "Dorothy's Schooling." Would she ever reach Oak Knowe, and how would this escapade be regarded there?

Into her troubled thoughts now broke a sound of pain, that drove everything save pity from her mind. The rain was now falling fast and drenching her new clothes, but her anxiety was only that the injured boy should not get wet and she was glad that her rug was so thick and warm. It had been a parting gift from her "House-Boat" guests and held almost sacred as a memento of their happy trip together.

But now the oxen were turning into a lane. She could dimly see the hedgerows on either side, that now and then the lightning flashes showed more plainly; and, after a time, something big and white seemed to block their way. A moment more and the white obstruction proved to be a cottage with a lamp shining through its window. Then a door opened and a woman's voice called cheerily:

"Welcome home, my man! You're late the night. Met you up with any trouble? Didn't the apples sell well?"

"More trouble than you dream, Dame, and I've fetched it for you to share. Light the bedroom to once. 'Tis the dead--or dyin'--is here."

Without a word the woman turned away, moving heavily because of her great size, and an inner door opened, showing a comfortable bed, its covers already invitingly spread back. Lighting more candles the dame stood quietly aside, waiting her unexpected guest.

The doctor brought the boy in, still wrapped in the rug and, tossing that to the floor, gently laid him down. John followed close behind, announcing:

"'Tis Robin, Dame, our bonny Robin of the Glen. The heart of the mother will break. He--"

"Help here. Hot water, please. More light. An old sheet for bandages. Don't dally. Undress him, Lady Jane."

"But, doctor, I'm afraid!" objected that lady who, partly from curiosity, partly to avoid the rain, had followed the physician into the house.

Indeed, all the motoring party had now swarmed into the kitchen, intending to be quiet yet really chattering noisily, and some of them sniffing covetously the odors from a great pot of soup, steaming away on the stove. But nobody was quite ready to respond to the doctor's appeals for help, even Mrs. Gilpin being confused and stupid before these strangers who had taken possession of her home.

As for old John, he could simply stand and stare at the unconscious lad on the bed, too dazed and grieved to be of any use whatever.

Not so Dorothy, who had entered with the rest and who noticed Dr. Winston's impatience--who knew that a hospital was where his patient should be and not this ill-equipped cottage. Throwing off her dripping jacket, she cried:

A teakettle was singing beside the soup-pot on the stove and a dishpan was hanging near. To empty the kettle into the pan and to carry it to the chair beside the bed was an instant's task. Then, seizing the upper sheet and using her teeth for scissors, she swiftly tore it into strips; and by this time the dame had regained her own presence of mind.

Without troubling to ask who Dorothy was or how she came to be there, she now took charge of things, saying:

"You'll find clean towels in that chest of drawers. Fetch the doctor a pile. Shears are yon in that work-basket. You're spry on your feet as I can't be, but I do know how to take the clothes off this poor Robin. My, what's this he clenches so tight in hand? One of them telegraph letters 'tis his errand to deliver. All over the countryside the laddie rode on his wheel to earn the bit money would pay his mother's rent. Brave, bonny lad that he was!"

Gently releasing the telegram from his fingers, Mrs. Gilpin held it up for the doctor to see.

"For Oak Knowe. Open it, little girl, and read if it's important."

She obeyed, but her voice trembled as she read. It was the belated message that announced her own coming and the hour of her arrival. It explained why she had not been met at the station, but she felt both shocked and guilty as she exclaimed:

"Oh! it is my fault! It's all my fault that he is killed! Just about me it happened! What shall I do--what shall I do?"

"Stop that sort of talk and see how your dead boy stares at you! Look well, Robin, you see a real live Yankee girl!"

UNFORTUNATE BEGINNINGS

Even the most cultured Lady Principals do not enjoy being roused from their slumbers, an hour after midnight, by the tooting of a motor car beneath their bedroom windows. It was annoying to have to dress again and descend to a dimly-lighted reception room to receive a new pupil who had missed a train, on the route, and misdirected her telegram. Nor was there anything prepossessing about this especial girl, whose clothes steamed with moisture and whose travel-soiled cheeks were streaked by raindrops and tears. So it was small wonder that Dorothy's reception by Miss Muriel Tross-Kingdon was decidedly cool and crisp.

"This is really unprecedented, Miss Calvert. I cannot understand how any young lady, whose friends consider her intelligent enough to travel alone, could have made such stupid blunders, as you have. At the point where you knew you were to change trains, why did you not keep watch and inquire for direction?"

"Well, you see there was a military parade and the soldiers looked so queer in their red uniforms and their funny little caps on the sides of their heads that--that--that I forgot. I mean the timetable told the right hour, course, but the first train was behind and so--and so--"

It was a very lame excuse and Dolly knew it. But it was the truth and as such she gave it.

Miss Tross-Kingdon made no reply. Inwardly she was commenting upon Dorothy's pronunciation of certain words, which was wholly at fault according to English custom, and realizing that here was the first fault to be corrected in her new pupil.

Dorothy's heart sank. Uncle Seth's last advice to her had been:

"Whenever you feel blue, just wave your flag of high courage and march ahead. Don't stop to think! March, march, march--toward the better time that will surely come."

But that high-courage flag hung limply now and she felt she could never again wave it at all. But, fortunately, the Lady Principal now rose to terminate the interview. Touching an electric bell for the maid on night duty, she said:

"It is very late and you are tired. Dawkins will show you to your cubicle and assist you in undressing. You may omit your bath, to-night, and are allowed an extra hour of sleep in the morning. Where are your suit case and hand bag?"

Dorothy rose, as the lady did, but a fresh feeling of guilt made her eyes fall as she murmured:

"Don't know!" echoed the Lady Principal, in amazement. Then directing Dawkins to supply what was needed, she returned to her interrupted repose, while Dorothy wearily followed the stern-faced maid; being cautioned, meanwhile:

"Do not dare to make a noise and arouse the young ladies."

Yet arrived at the cubicle, or small division of the great dormitory which had been assigned her, Dorothy realized that Dawkins was kinder than she looked. For presently she was being undressed, her face and hands sponged with cool water, and herself reclothed with the freshest of gowns. Then she was bodily lifted into the dainty little bed as if she were a baby.

This unexpected gentleness touched her heart and, flinging her arms about the maid's neck, she sobbed:

"Oh! do be good to me! I am so desolate!"

"Whist, child! We must no be wakin' the troublesome girls around. And sure the lonesomeness'll pass, like the dew afore sun, once you get a good sleep and meet up with your mates. Good night, child, and sleep well."

Then, since there was nobody to witness her unusual demonstration, maid Dawkins stooped and kissed the tired eyes of her new charge, and went quietly away.

But there had been one observer of this caress. Peeping from her own compartment stood a girl whose keen eyes had noticed everything, and who felt she could scarcely wait until morning to spread the news. Creeping back to her own bed, she lay long awake, thinking the matter over. For this schoolgirl, who rejoiced in the title of the Honorable Gwendolyn Borst-Kennard, had a deal of curiosity that was wholly roused now.

"Never saw old Dawkins kiss anybody. Dawkins, of all creatures! Never knew a new girl come at this time of night--and she certainly was new. And she hadn't any clothes, I know, because that was one of the school hampers Dawkins had. Must be somebody very poor. I wonder who! Maybe--for goodness sake! Maybe she's some relation to old Dawk! Else why should she kiss her? Humph! I thought this was a school for young ladies, not for the poor relations of servants. There's one thing certain, mamma will never allow me to remain where there are paupers. Never in this world. Neither would Lord Christopher let Marjorie. No, indeed. So will Miss Tross-Kingdon find out. Why! one charity pupil at Oak Knowe would ruin it! Anyhow, I mean to hurry round in the morning and warn all my set against noticing the beggar and what our set does surely goes. Mamma gets odd notions about things, sometimes, like saying I must sleep in this old dormitory instead of having a private room, and that I have silly feelings about rank. Wanted the Lady Principal to make me more democratic: but even she couldn't wish me to sleep among paupers. Heigho! I wish it was morning! But I'll take a nap now and that will pass the time."

Exhausted by the long journey she had taken, and by the startling events of the night, unconscious Dorothy slept calmly on, little dreaming of Gwendolyn's fancies about her; nor did she wake till long after all her dormitory mates had dressed and gone below to breakfast. When she did arouse it was to wonder about this strange place in which she found herself and at an elfish-looking child perched on the foot of her little bed, staring at her with wide eyes and keen impatience, and who greeted her first movement with the exclamation:

"Well, old sleepy-head, I thought you never would wake up! Who are you, anyway, and what makes you stay in cubicle so long after breakfast? Won't you catch a lecture, though! I wouldn't be in your shoes for a sovereign!"

"Don't believe you could be in them. You're so small they'd fall off," answered Dorothy laughing.

"No, they wouldn't. I'd tie them on. If I wanted to. Who are you? When'd you come? How dare you stay in bed so?"

Dolly laughed again. She had fallen asleep convinced that she could never laugh again, so tired and homesick had she been. But now, refreshed by rest and with the sunlight streaming through the windows, the world seemed a very different place. Besides, there was something so winning about this inquisitive little maid, that the stranger's heart was comforted that she had found a friend already.

"Well, dearie, I suppose I dare because Miss Tross-Kingdon--"

"Did she say you could? Isn't that odd! She's my aunt. I haven't any folks 'cept her, I'm a norphan. I'm Millikins-Pillikins, my brother Hugh calls me; and the girls, too. But I'm not, really. I'm Grace Adelaide Victoria Tross-Kingdon. That's my truly name. Nobody could call me all that, could they? Wouldn't be time. Auntie Princie calls me just plain 'darling' or 'dear.' I'm a Minim. I don't have to do lessons and things. I'm in the 'kindy.' Auntie Princie doesn't approve of a kindergarten in this School for Young Ladies; but it's a speriment the Board of Directioners wanted to try. Them's the gentlemen auntie has to mind. Fancy! My great big grown-up Auntie Prin having to mind them, same's I have to mind her! My Lord Bishop, he's the head Directioner, but he's the jolliest! I just love him! He knew my papa and mamma before they got drowned in the sea. My brother Hugh lives with the Bishop and writes things for him. They call him a seckeratary. He gets money for doing it. Think of that! Sometimes he gives me pennies and even six-pences. Sometimes--not often. You see he wants to earn enough to buy a cottage for him and me. I'm to be the lady of it--the mistress! Fancy! But Auntie Princie says I have lots to learn before then. I will have to make his bread, 'cause he won't have money enough to keep me and a cook, too. I'll have to have a housemaid to help me, but you know housemaids never do the cooking. But say, girl, you haven't told me your name yet?"

Dorothy sat up in bed and drew the child toward her:

"My dear, you haven't given me a chance yet, you've been so busy telling me who you are. But I've enjoyed it and I thank you for coming to wake me up. Now I must get up and dress. Maybe you will show me to the bathroom, though I don't like to go about in this way."

"That's a school nightie you've got on. Where's your bath robe?"

"Where's your trunk?"

"I suppose it's at John Gilpin's house. That is, if he didn't throw it out of the cart with the empty barrels."

"Why did he throw out the barrels?"

"To make a place for Robin to lie on."

"The messenger boy who was hurt. He was bringing my telegram and he fainted and fell and the motor car--but I mustn't stop now to talk. I must get dressed."

"Couldn't you talk without stopping? I could."

"I believe you, child. Will you show me?"

Evelyn Raymond opens Dorothy at Oak Knowe with a burst of competing voices: hackmen shouting for passengers at a Toronto railway station, each trying to claim the newly arrived American girl. The narrative voice immediately establishes Dorothy's vulnerability through short, breathless sentences and her own exclamation, “Oh! what shall I do! What shall I do!” The scene is crowded and noisy, yet Dorothy feels utterly alone. This contrast between external bustle and internal isolation sets the tone for a story that frequently shifts between public commotion and private anxiety.

Later, the pace changes dramatically. A missing-pupil crisis unfolds in near silence: the Lady Principal and the maid Dawkins move by candlelight, speaking in whispers to avoid alarming the sleeping school. The prose slows, lingering on the soft light and the chattering teeth of the searchers. Raymond uses this change in tempo to heighten suspense, moving from the chaotic opening to a hushed, tense investigation that reveals the school's hidden fears.

Voice and the Unreliable Crowd

The opening chapter relies on a cacophony of anonymous voices: hackmen call out hotel names, each trying to outshout the others. Dorothy is identified by her appearance—“a dark haired girl in navy blue”—but no one speaks to her with genuine concern. The narrator reports the hackmen's cries in direct dialogue, creating a sense of overwhelming noise that mirrors Dorothy's disorientation. This technique recurs later when servants react to the disappearance: a housemaid cries out about “imps” and “the Evil One,” and the narrative records her superstitious outburst verbatim. Raymond uses these collective voices to show how panic spreads through a community, contrasting them with the measured, authoritative speech of the Lady Principal. The effect is a layered soundscape where the reader must distinguish reliable information from hysterical rumor.

Pace as a Tool of Suspense

Raymond manipulates narrative pace to control tension. The search for the missing girl begins with deliberate slowness: the Lady Principal and Dawkins “step softly,” take candles, and examine each room in silence. The prose lingers on small actions—peering behind furniture, checking closets—while the reader knows time is passing. Then, at daybreak, the pace accelerates. The Lady Principal appears in the kitchen, delivers a terse speech, and threatens the constabulary. The servants' mutiny erupts in rapid, panicked dialogue. This shift from slow, candlelit searching to brisk, confrontational exposition mirrors the escalation of the crisis. Raymond also uses ellipsis: the text cuts from the search directly to the threat of police, leaving the reader to infer the intervening hours. Such gaps in the narrative create a sense of urgency and incomplete knowledge.

Setting and Sensory Detail

The physical environment of Oak Knowe is rendered through sensory details that reinforce mood. The search takes place in darkness, with only candlelight to guide the characters. The narrator notes that the Lady Principal is “shaking, either with cold or nervousness,” and Dawkins's teeth are “fairly chattering.” These bodily reactions tie the setting to emotional states. The school itself is described as a place where “never a lock is turned,” a detail that the Bishop has mandated for fire safety. This rule becomes ironic when a girl vanishes without explanation. Later, the kitchen scene introduces the sounds of “three hundred hungry girls” awaiting breakfast, a reminder of the school's scale and the pressure on its staff. Raymond uses such concrete details—candlelight, chattering teeth, locked doors—to ground the mystery in a believable, tactile world.

Readers attentive to Raymond's shifts in pace will find the mystery deepened by the contrast between public noise and private fear. The narrative voice moves fluidly from Dorothy's desperate interior monologue to the Lady Principal's controlled commands, and the setting—from the chaotic station to the silent, candlelit halls—reinforces the emotional stakes. Pay attention to how the author uses dialogue to convey collective panic versus individual resolve; these vocal contrasts are central to the story's tension.

Sometimes I think about Dorothy’s frantic candlelit search at Oak Knowe, how fear changes the feel of a hallway. It made me recall the quieter, more determined energy in Ruth Fielding in Moving Pictures; Or, Helping the Dormitory Fund — Themes and Context, where helping feels less like panic and more like a steady, familiar hope. Both linger with me.

Sophia Torres
1 month ago

Charlotte Allen
4 weeks ago

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