Home Scenes and Home Influence; a series of tales and sketches — Background and Themes

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Arthur, T. S. (Timothy Shay), 1809-1885 Project Gutenberg 2003 Not confirmed
Didactic fiction; Domestic fiction; Family life -- Fiction; Marriage -- Fiction Readers of public-domain and historical texts
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Words 50,211
Reading time 219 min
Text sections 6

The source record for Home Scenes and Home Influence; a series of tales and sketches — Background and Themes measures this digital text at 50,211 words, 3 hr 39 min estimated reading time, and 6 detected text sections.

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T. S. Arthur's 1854 collection of domestic tales uses conversational openings and moral contrasts to examine how comfort, temper, and social status play out in home life. The excerpts show a pattern of first-person narrators observing and gently critiquing household behavior, with particular attention to the gap between public manners and private character.
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There was another gesture of impatience on the part of my young friend, as he said--

"And such furnishing!"

"Every thing looks neat and comfortable," I replied.

"It may do for them, but it wouldn't suit us."

"Whatever is accordant with our means should be made to suit us," said I, seriously. "You are no better off than Tyler."

"Do you think I could content myself in such a place?" he replied.

"Contentment is only found in the external circumstances that correspond to a man's pecuniary ability," was my answer to this. "Which, think you, is best contented? Tyler, in a small house, neatly furnished, and with a hundred dollars in his pocket; or you, in your large house, with a debt of six hundred dollars hanging over you?"

There was an instant change in my friend's countenance. The question seemed to startle him. He sighed, involuntarily.

"But all this won't lift my notes," said he, after the silence of a few minutes. "Good morning!"

Poor fellow! I felt sorry for him. He had been buying comfort at rather too large a price.

The more Brainard cast about in his mind for the means of lifting his notes, the more troubled did he become.

"I might borrow," said he to himself; "but how am I to pay back the sum?"

To borrow, however, was better than to let his notes be dishonoured. So Brainard, as the time of payment drew nearer and nearer, made an effort to get from his friends the amount of money needed.

But the effort was not successful. Some looked surprised when he spoke of having notes to meet; others ventured a little good advice on the subject of prudence in young men who are beginning the world, and hinted that he was living rather too fast. None were prepared to give him what he wanted.

Troubled, mortified, and humbled, Brainard retired to his comfortable home on the evening before the day on which his note given for the piano was to fall due. Nearly his last effort to raise money had been made, and he saw nothing but discredit, and what he feared even worse than that before him. Involved as he was in debt, there was no safety from the sharp talons of the law. They might strike him at any moment, and involve all in ruin.

Poor Brainard! How little pleasure did the sight of his large and pleasant house give him as it came in view on his return home. It stood, rather as a monument of extravagance and folly, than the abode of sweet contentment.

"Three hundred dollars rent!" he murmured. "Too much for me to pay." And sighed deeply.

He entered his beautiful parlour, and gazed around upon the elegant furniture which he had provided as a means of comfort. All had lost its power to communicate pleasure. There stood the costly piano, once coveted and afterwards admired. But it possessed no charm to lay the troubled spirit within him. He had bought it as a marriage present for his wife, who had little taste for music, and preferred reading or sewing to the blandishment of sweet sounds. And for this toy--it was little more in his family--a debt of four hundred dollars had been created. Had it brought him an equivalent in comfort? Far, very far from it.

As Brainard stood in his elegant parlour, with troubled heart and troubled face, his wife came in with a light step.

"George!" she exclaimed on seeing him, her countenance falling and her voice expressing anxious concern. "What is the matter? Are you sick?"

"Oh, no!" he replied, affecting a lightness of tone.

"But something is the matter, George," said the young wife, as she laid her hand upon him and looked earnestly into his face. "Something troubles you."

"Nothing of any consequence. A mere trifle," returned Brainard, evasively.

"A mere trifle would not cloud your brow as it was clouded a moment since, George."

"Trifles sometimes affect us, more seriously than graver matters." As Brainard said this, the shadows again deepened on his face.

"If you have any troubles, dear, let me share them, and they will be lighter." Anna spoke with much tenderness.

"I hardly think your sharing my present trouble will lighten it," said Brainard, forcing a smile, "unless, in so doing, you can put some four hundred dollars into my empty pockets."

Anna withdrew a pace from her husband, and looked at him doubtingly.

"Do you speak in earnest?" said she.

"In very truth I do. To-morrow I have four hundred dollars to pay; but where the money is to come from, is more than I can tell."

"How in the world has that happened?" inquired Mrs. Brainard.

Involuntarily the eyes of her husband wandered towards the piano. She saw their direction. Her own eyes fell to the floor, and she stood silent for some moments--silent, but hurriedly thoughtful. Then looking up, she said, in a hesitating voice--

"We can do without that." And she pointed towards the piano.

"Without what?" asked Brainard, quickly.

"The piano. It cost four hundred dollars. Sell it."

"Don't mention it, Anna. Sell your piano! It shall never be done."

"It's no use to talk of that, Anna; I will not listen to it."

And so the wife was silenced.

Little comfort had the young couple that evening in their finely furnished house. Brainard was silent and thoughtful, while Anna felt the pressure of a heavy weight upon her feelings.

How different was it in the smaller and more plainly attired dwelling of Tyler! There was comfort, and there were peace and contentment, her smiling handmaids.

On the next morning, Brainard found it impossible to conceal from his wife the great anxiety he felt. She said very little to him, for his trouble was of a kind for which she could suggest no remedy. After he parted with her at the door, she returned and sat down in one of the parlours to think. The piano was before her, and back to that her thoughts at length came. It was not only a beautiful instrument, but one of great excellence. Often had it been admired by her friends, and particularly by a lady who had several times expressed a wish to own one exactly like it in every respect.

"I wish you would let me have that piano," the lady had said to her not a week before; and said it as much in earnest as in jest.

"I wonder if she really would buy it?" mused Mrs. Brainard. "I don't want so fine an instrument. My old piano is a very good one, and is useless at father's. Oh! if I could only get George the four hundred dollars he wants so badly!"

And she struck her hands together as her thoughts grew earnest on the subject. For more than an hour the mind of Mrs. Brainard gave itself up to this one idea. Then she dressed herself and went out. Without consulting any one, she called upon the lady to whom reference has been made.

"Mrs. Aiken," said she, coming at once to the point, "you have often remarked that you would like to own that piano of mine. Were you really in earnest?"

"In earnest? Certainly I was." Mrs. Aiken smiled, at the same time that a slight expression of surprise came into her face. "It's one of the finest instruments I ever touched."

"It's for sale," said Mrs. Brainard, in a firm, business-like way. "So there is a chance for you to call it your own."

"For sale! Why do you say that, Anna?"

"It's too costly an instrument for me to own. My old piano is a very good one--quite good enough for all my purposes."

"But this is your husband's wedding-gift, if I remember rightly?"

"I know it is; but the gift was too costly a one for a young man whose salary is only a thousand dollars a year."

"Then he wishes to sell it."

"No, indeed, not he!"

"And would you sell it without consulting him?" said Mrs. Aiken.

"Such is my intention."

"He might be very much displeased."

"No matter; I would soon smooth his frowning brow. But, Mrs. Aiken, we won't discuss that matter. The instrument is to be sold. Do you want it?"

"Very well. Are you prepared to buy it?"

"Perhaps so. It cost four hundred dollars?"

"What is your price?"

"Then you make no deduction?" said Mrs. Aiken, smiling.

"I wouldn't like to do that. It's as good as new. If I can sell it, I want to be able to put in my husband's hands just what he paid for it."

"Oh, then you want the money for your husband?"

"Certainly, I do. What use have I for four hundred dollars?"

"You've come just in time, Anna," said Mrs. Aiken. "I arranged with my husband to meet him this morning, at his store, to go and look at some pianos. But if yours is really for sale, we have no occasion to take any further trouble."

"It is for sale, Mrs. Aiken. Understand this."

"Very well. When do you want the money?"

"I don't know about that. However, I will see Mr. Aiken immediately."

"Shall I wait here for you?"

"You may do so, or I will call at your house."

"Do that, if you please."

"Very well. In an hour, at most, I will see you."

The two ladies then parted.

When Mr. Brainard left his house that morning, he felt wretched. Where--how was he to get four hundred dollars? To go to the party from whom he had bought the piano, and confess that he was not able to pay for it, had in it something so humiliating, that he could not bear the thought for a moment. But if the note was not paid,--what then? Might not the instrument be demanded? And how could he give it up now? Or, worse, might it not be seized under execution?

"Oh, that I had never bought it!" he at length exclaimed, mentally, in the bitterness of his feelings. And then he half chid himself for the extorted declaration.

Nearly the whole of the morning was spent in the vain attempt to borrow the needed sum. But there was no one to lend him four hundred dollars. At length, in his desperation, he forced himself to apply for a quarter's advance of salary.

"No doubt," said he, within himself, "that the holder of the note will take two hundred and fifty dollars on account, and give me time on the balance."

About the ways and means of living for the next three months, after absorbing his salary in advance, he did not pause to think. He was just in that state of mind in which he could say, with feeling, "Sufficient unto the day is the evil thereof." Unhappily, his effort to raise money by this expedient failed. His application was received coldly, and in a way to mortify him exceedingly.

Half desperate, and half despairing, Brainard started for his home about one o'clock, his usual hour for dining. What was he to do? He turned his thoughts to the right and to the left, groping about like a man in the dark. But no light broke in upon his mental vision.

"It will not do to meet Anna in this way," said he, as he approached his own door. "I left her with a troubled countenance in the morning. Now I must force an assumed cheerfulness."

He entered, and was moving along the passage, when Anna came out through one of the parlour doors to meet him, and drawing her arm through his, said, in a lively tone,--

"Come, George, I want to play for you a favourite piece. I've been practising it for the last hour."

And she drew him into the parlour, and, taking her seat at the piano, commenced running her fingers over the keys. Brainard stood and listened to the music until the piece was finished, trying, but in vain, to feel an interest in the performance.

"How do you like that?" said the wife, with animation, lifting her sparkling eyes to the face of her husband, which was serious, in spite of all he could do to give it a better expression.

"Beautifully performed," replied Brainard.

"And do you really think so?" said Anna, as she arose and leaning on his arm again, drew him into the next room.

"Didn't you think the instrument a little out of tune?" asked Anna.

"No; it struck me as being in better tune than when you played last evening."

"It's a fine instrument, certainly. I prize it very much."

Brainard sighed faintly.

"Oh! How about your four hundred dollars?" said Anna, as if the thought had just occurred to her. "Did you get the money?"

A change was apparent in the manner of Brainard.

"No, Anna," he replied, with assumed calmness.

"Do you want it badly?"

"Yes, dear. I have four hundred dollars due in the bank to-day, and every effort to obtain the sum has failed."

"What if I lend it to you?" said the young wife, looking archly into his troubled face.

"You!" he exclaimed, quickly.

"Yes, me. Would you take it as a very great favour?"

"The greatest you could do me just at this time!"

"Very well; here is the money."

And Anna drew a purse of gold from her pocket, and held it before his eyes.

"Anna! What does this mean?"

And Brainard reached his hand to grasp the welcome treasure. But she drew it away quickly, saying, as she did so,--

"Certain conditions must go with the loan."

"Name them," was promptly answered by the husband, into whose face the sunshine had already come back.

"One is, that you are not to be angry with me for any thing that I have done to-day."

"What have you done?"

And Brainard glanced around the room with an awakened suspicion.

"I want your promise first."

"But mind you, I am in earnest," said Anna.

"So am I. Now make your confession."

There was an instant change in the expression of Brainard's face.

"Your promise. Remember," said Anna, in a warning voice.

And he walked into the next room, Anna moving by his side.

"Yes, I sold it to Mrs. Aiken for four hundred dollars. I had my old instrument brought over from father's. This is as good a piano as I want, or you either, I should think, seeing that you perceived no difference in its tones from the one I parted with. Now, take this purse, and if you don't call me the right sort of a wife you are a very strange man--that is all I have to say."

Surprise kept Brainard silent for some moments. He looked at the piano, then at his wife, and then at the purse of gold, half doubting whether all were real, or only a pleasant dream.

"You are the right sort of a wife, Anna, and no mistake," said he, at length, drawing his arm around her neck and kissing her. "You have done what I had not the courage to do, and, in the act, saved me from a world of trouble. The truth is, I never should have bought that piano. A clerk, with a salary of only a thousand dollars, is not justified in expending four hundred dollars for a piano."

"Nor in having so much costly furniture," said Anna, glancing round the room.

Brainard sighed, for the thought of two hundred dollars yet to pay flitted through his mind.

"Nor in paying three hundred dollars for rent," added Anna.

"Why do you say that?" asked Brainard.

"Because it's the truth. The fact is, George, I'm afraid we're in the wrong road for comfort."

"Perhaps we are," was the young man's constrained admission.

"Then the quicker we get into the right way the better. Don't you think so?"

"If we, are wrong, we should try to get right," said Brainard.

"It was wrong to buy that piano. This is your own admission."

"We are right again in that respect."

"Yes, thanks to my dear wife's good resolution and prompt action."

"It was wrong to take so costly a house," said Anna.

"I couldn't find a cheaper one that was genteel and comfortable."

"I'm sure I wouldn't ask any thing more genteel and comfortable than Mrs. Tyler's house."

Brainard spoke in, a tone of contempt.

"Why, George, how you talk! It's a perfect gem of a house, well built and well finished in every part, and big enough for a family twice as large as ours. I think it far more comfortable than this great barn of a place, and would a thousand times rather live in it. And then it is cheaper by a hundred and twenty dollars a year."

A hundred and twenty dollars! What a large sum of money. Ah, if he had a hundred and twenty dollars in addition to the four hundred received from Anna, how happy he would be! These were the thoughts that were flitting through the mind of Brainard at the mention of the amount that could be saved by taking a smaller house.

"Well, Anna, perhaps you are right. Oh, dear!"

"Why do you sigh so heavily, George?" asked Mrs. Brainard, looking at her husband with some surprise.

"Because I can't help it," was frankly answered.

"You've got the money you needed?"

"Why, George! Didn't you say that you had only four hundred dollars to pay?"

"The fact is, Anna, I have two hundred dollars yet to meet."

Anna's face became troubled.

"No, not until the day after to-morrow."

The young wife's countenance lighted up again.

"Yes, thank Heaven, that is all. But how the payment is to be made, is more than I can tell."

Dinner was now announced.

"I shall have to turn financier again," said Anna, smiling, as she drew her arm within that of her husband, and led him away to the dining-room.

"I'm a little afraid of your financiering," returned her husband, shaking his head. "You might sell me next as a useless piece of furniture."

"Now, George, that is too bad," replied Anna, looking hurt.

"I only jested, dear," said Brainard, repairing the little wrong done to her feelings with a kiss. "Your past efforts at financiering were admirable, and I only hope your next attempt may be as successful."

Two days more passed, during which time neither Brainard nor his wife said any thing to each other about money, although the thoughts of both were busy for most of the time on that interesting subject. Silently sat Brainard at the breakfast-table on the morning of the day when his last note fell due. How was he to meet the payment? Two hundred dollars! He had not so much as fifty dollars in his possession, and as to borrowing, that was a vain hope. Must he go to the holder of the note, and ask a renewal? He shrunk from the thought, murmuring to himself--"Any thing but that."

As for getting the required sum through Anna, he did not permit himself to hope very strongly. She had looked thoughtful since their last interview on the subject, and at times, it seemed to him, troubled. It was plain that she had been disappointed in any efforts to get money that she might have made.

"That she, too, should be subject to mortification and painful humiliation!" said he, as his mind dwelt on the subject. "It is too bad--too bad!--Oh, to think that my folly should have had this reaction!"

Anna looked sober as Brainard parted with her after breakfast, and he thought he saw tears in her eyes. As soon as he was gone she dressed herself, and taking from a handsome jewel-box the present of her husband, a gold watch and chain, a bracelet, diamond pin, and some other articles of the same kind, left the house.

Two hours afterward, as Brainard sat at his desk trying to fix his mind upon the accounts before him, a note was handed in bearing his address. He broke the seal, and found that it enclosed one hundred and seventy dollars, with these few words from Anna:

"This is the best I can do for you, dear husband. Will it be enough?"

"God bless her!" came half audibly from the lips of Brainard, as he drew forth his pocket-book, in which were thirty dollars. "Yes, it will be enough."

"There is no comfort in owing, or in paying after this fashion," said the young man to himself, as he walked homeward at dinner-time, with his last note in his pocket. "There will have to be a change."

The first tale, 'Taking Comfort,' begins with a narrator visiting a newly married friend's parlour and immediately questioning the couple's definition of comfort. The husband declares he goes 'in for comforts' and believes money should be used to procure 'natural blessings,' but the narrator's eye is drawn to a 'handsome new rose-wood piano' and a rent of three hundred dollars—details that hint at a gap between principle and practice. This opening sets a pattern: Arthur's stories often start with a concrete domestic scene, then pivot to a moral question posed by a narrator who is present but slightly detached.

Conversational Openings as Moral Framing

Across the excerpts, Arthur consistently launches his tales with dialogue or direct address. In 'Taking Comfort,' the narrator's friend Brainard states his philosophy of comfort, and the narrator's evasive reply—'We should all make the best of what we have'—immediately signals a tension between ideal and reality. In 'Is She a Lady?', the narrator's wife introduces a visitor's name, and the narrator responds with a pointed remark about the difference between being a lady 'abroad' and 'at home.' These conversational openings do more than set the scene; they establish a moral framework. The narrator becomes a quiet judge, and the reader is invited to weigh each character's words against their actions.

The Narrator's Role as Observer and Critic

Arthur's narrators are rarely omniscient; they are participants who watch closely and report their impressions. In 'Is She a Lady?', the narrator admits he is 'a little inclined to be doubtful' of Mrs. Tudor's claims, based on a perceived 'air of superciliousness.' He then recounts a tea party where Mrs. Tudor 'confined her attentions almost exclusively' to a few guests, leaving others feeling 'cold, uncomfortable, unsocial.' The narrator's wife reproves him for making remarks, but the damage is done: the reader sees the hostess's favoritism through the narrator's critical lens. This technique allows Arthur to dramatize social hypocrisy without heavy-handed commentary.

Recurring Domestic Details as Evidence

Arthur grounds his moral observations in specific, tangible details. In 'Taking Comfort,' the narrator notes the piano and the rent as signs of 'lavish spirit.' In 'Is She a Lady?', the narrator observes that Mrs. Tudor did not know his family until they built a new house—a detail that exposes her social climbing. The tea party scene is filled with small cues: the narrator is introduced to 'two or three' guests first, with their names pronounced 'in a very distinct manner,' while his own name is barely audible. These recurring domestic details—furnishings, invitations, seating arrangements—serve as evidence for the narrator's judgments, making the moral lessons feel earned rather than preached.

The Marriage Relation and Its Tensions

The preface promises that some tales include 'the marriage relation,' and the excerpts bear this out. In 'Taking Comfort,' the bride Anna leans toward her husband and looks 'tenderly into his face,' but the narrator's questions about rent and expenditure suggest underlying financial strain. In 'Is She a Lady?', the narrator's wife is 'distressed' by his sarcasm, and he notes that her reproof conveyed 'what she wished to utter more distinctly than she did.' These moments capture the subtle negotiations of married life: how couples manage money, social appearances, and each other's expectations. Arthur does not resolve these tensions in the excerpts, leaving the reader to consider how domestic harmony might be restored.

Readers approaching this collection should attend to the narrators' perspectives: they are not neutral but morally engaged, and their observations often carry the weight of the tale's lesson. The stories reward attention to small details—a piece of furniture, a tone of voice, a seating arrangement—that reveal character. Because the excerpts are incomplete, the reader must infer how each tale's conflict resolves, but the patterns of dialogue and domestic detail provide reliable clues.

I kept thinking about how those old tales measured a home's true warmth against its polished surface, and it reminded me of something similar in A Hazard of New Fortunes — Volume 5 — Themes and Context—people carrying their private selves into crowded rooms, the comfort they build versus what they show. That quiet gap stays with you long after the last page turns.

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