The Getting of Wisdom — A Closer Reading

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Richardson, Henry Handel, 1870-1946 Project Gutenberg 2003 Not confirmed
Autobiographical fiction; Australia -- Fiction; Young women -- Fiction; Bildungsromans; Melbourne (Vic.) -- Fiction Readers of public-domain and historical texts
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Edition facts

Words 76,583
Reading time 333 min
Text sections 9

The catalog record for The Getting of Wisdom — A Closer Reading provides practical reading context through 76,583 words, 5 hr 33 min estimated reading time, and 9 detected text sections.

The text analysis averages about 17.7 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 “Autobiographical fiction,” connecting these edition facts with the source record’s subject description.

An editorial note on how the opening, middle, and later excerpts of Henry Handel Richardson's 'The Getting of Wisdom' guide a first reading, focusing on narrative voice, social observation, and the protagonist's evolving perspective.
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Pin began to sniff, in sheer nervous anxiety.

"Very well then, I won't do another stitch to it!" and Mother, now angry in earnest, got up and bounced out of the room.

"Laura, how can you?" said Pin, dissolving. "It's only you who make her so cross."

"I don't care," said Laura rebelliously, though she was not far off tears herself. "It IS a shame. All the other girls will have dresses down to the tops of their boots, and they'll laugh at me, and call me a [P.4] baby;" and touched by the thought of what lay before her, she, too, began to sniffle. She did not fail, however, to roll the dress up and to throw it unto a corner of the room. She also kicked the ewer, which fell over and flooded the floor. Pin cried more loudly, and ran to fetch Sarah.

Laura returned to the garden. The two little boys came up to her; but she waved them back.

"Let me alone, children. I want to think."

She stood in a becoming attitude by the garden-gate, her brothers hovering in the background.--Then Mother called once more.

"Laura, where are you?"

"Here, mother. What is it?"

"Did you knock this jug over or did Pin?"

"Did you do it on purpose?"

She went, with lagging steps. But Mother's anger had passed: she was at work on the dress again, and by squinting her eyes Laura could see that a piece was being added to the skirt. She was penitent at once; and when Mother in a sorry voice said: "I'm ashamed of you, Laura. And on your last day, too," her throat grew narrow.

"I didn't mean it, mother."

"If only you would ask properly for things, you would get them."

Laura knew this; knew indeed that, did she coax, Mother could refuse her nothing. But coaxing came hard to her; something within her forbade it. Sarah called her "high-stomached", to the delight of the other children and her own indignation; she had explained to them again and again what Sarah really meant.

On leaving the house she went straight to the flower-beds: she would give Mother, who liked flowers very well but had no time to gather them, a bouquet the size of a cabbage. Pin and the boys were summoned to help her, and when their hands were full, Laura led the way to a secluded part of the garden on the farther side of the detached brick kitchen. In this strip, which was filled with greenery, little sun fell: two thick fir trees and a monstrous blue-gum stood there; high bushes screened the fence; jessamine climbed the wall of the house and encircled the bedroom windows; and on the damp and shady ground only violets grew. Yet, with the love children bear to the limited and compact, the four had chosen their own little plots here rather than in the big garden at the back of the house; and many were the times they had all begun anew to dig and to rake. But if Laura's energy did not fizzle out as quickly as usual--she was the model for the rest--Mother was sure to discover that it was too cramped and dark for them in there, and send Sarah to drive them off.

Here, safely screened from sight, Laura sat on a bench and made up her bouquet. When it was finished--red and white in the centre with a darker border, the whole surrounded by a ring of violet leaves--she looked about for something to tie it up with. Sarah, applied to, was busy ironing, and had no string in the kitchen, so Pin ran to get a reel of cotton. But while she was away Laura had an idea. Bidding Leppie hold the flowers tight in both his sticky little hands, she climbed in at her bedroom window, or rather, by lying on the sill with her legs waving in the air, she managed to grab, without losing her balance, a pair of scissors from the chest of drawers. With these between her teeth she emerged, to the excited interest of the boys who watched her open-mouthed.

Laura had dark curls, Pin fair, and both wore them flapping at their backs, the only difference being that Laura, who was now twelve years old, had for the past year been allowed to bind hers together with a ribbon, while Pin's bobbed as they chose. Every morning early, Mother brushed and twisted, with a kind of grim pride, these silky ringlets round her finger. Although the five odd minutes the curling occupied were durance vile to Laura, the child was proud of her hair in her own way; and when in the street she heard some one say: "Look--what pretty curls!" she would give her head a toss and send them all a-rippling. In addition to this, there was a crowning glory connected with them: one hot December morning, when they had been tangled and Mother had kept her standing too long, she had fainted, pulling the whole dressing-table down about her ears; and ever since, she had been marked off in some mysterious fashion from the other children. Mother would not let her go out at midday in summer: Sarah would say: "Let that be, can't you!" did she try to lift something that was too heavy for her; and the younger children were to be quelled by a threat to faint on the spot, if they did not do as she wished. "Laura's faint" had become a byword in the family; and Laura herself held it for so important a fact in her life that she had more than once begun a friendship with the words: "Have you ever fainted? I have."

From among these long, glossy curls, she now cut one of the longest and most spiral, cut it off close to the root, and with it bound the flowers together. Mother should see that she did know how to give up something she cared for, and was not as selfish as she was usually supposed to be.

"Oh .. h .. h!" said both little boys in a breath, then doubled up in noisy mirth. Laura was constantly doing something to set their young blood in amazement: they looked upon her as the personification of all that was startling and unexpected. But Pin, returning with the reel of thread, opened her eyes in a different way.

"Oh, Laura ...!" she began, tearful at once.

"Now, res'vor!" retorted Laura scornfully--"res'vor" was Sarah's name for Pin, on account of her perpetual wateriness. "Be a cry-baby, do." But she was not damped, she was lost in the pleasure of self-sacrifice.

Pin looked after her as she danced off, then moved submissively in her wake to be near at hand should intercession be needed. Laura was so unsuspecting, and Mother would be so cross. In her dim, childish way Pin longed to see these, her two nearest, at peace; she understood them both so well, and they had little or no understanding for each other.--So she crept to the house at her sister's heels.

Laura did not go indoors; hiding against the wall of the flagged verandah, she threw her bouquet in at the window, meaning it to fall on Mother's lap.

But Mother had dropped her needle, and was just lifting her face, flushed with stooping, when the flowers hit her a thwack on the head. She groped again, impatiently, to find what had struck her, recognised the peace-offering, and thought of the surprise cake that was to go into Laura's box on the morrow. Then she saw the curl, and her face darkened. Was there ever such a tiresome child? What in all the world would she do next?

"Laura, come here, directly!"

Laura had moved away; she was not expecting recognition. If Mother were pleased she would call Pin to put the flowers in water for her, and that would be the end of it. The idea of a word of thanks would have made Laura feel uncomfortable. Now, however, at the tone of Mother's voice, her mouth set stubbornly. She went indoors as bidden, but was already up in arms again.

"You're a very naughty girl indeed!" began Mother as soon she appeared. "How dare you cut off your hair? Upon my word, if it weren't your last night I'd send you to bed without any supper!"--an unheard-of threat on the part of Mother, who punished her children in any way but that of denying them their food. "It's a very good thing you're leaving home to-morrow, for you'd soon be setting the others at defiance, too, and I should have four naughty children on my hands instead of one.-- But I'd be ashamed to go to school such a fright if I were you. Turn round at once and let me see you!"

Laura turned, with a sinking heart. Pin cried softly in a corner.

"She thought it would please you, mother," she sobbed.

"I WILL not have you interfering, Pin, when I'm speaking to Laura. She's old enough by now to know what I like and what I don't," said Mother, who was vexed at the thought of the child going among strangers thus disfigured.--"And now get away, and don't let me see you again. You're a perfect sight."

"Oh, Laura, you do look funny!" said Leppie and Frank in weak chorus, as she passed them in the passage.

"Well, you 'ave made a guy of yourself this time, Miss Laura, and no mistake!" said Sarah, who had heard the above.

Laura went into her own room and locked the door, a thing Mother did not allow. Then she threw herself on the bed and cried. Mother had not understood in the least; and she had made herself a sight into the bargain. She refused to open the door, though one after another rattled the handle, and Sarah threatened to turn the hose in at the window. So they left her alone, and she spent the evening in watery dudgeon on her pillow. But before she undressed for the night she stealthily made a chink and took in the slice of cake Pin had left on the door-mat. Her natural buoyancy of spirit was beginning to reassert itself. By brushing her hair well to one side she could cover up the gap, she found; and after all, there was something rather pleasant in knowing that you were misunderstood. It made you feel different from everyone else.

Mother--sewing hard after even the busy Sarah had retired--Mother smiled a stern little smile of amusement to herself; and before locking up for the night put the dark curl safely away.

Laura, sleeping flat on her stomach, was roused next morning by Pin who said:

"Wake up, Wondrous Fair, mother wants to speak to you. She says you can get into bed in my place, before you dress." Pin slept warm and cosy at Mother's side.

Laura rose on her elbow and looked at her sister: Pin was standing in the doorway holding her nightgown to her, in such a way as to expose all of her thin little legs.

"Come on," urged Pin. "Sarah's going to give me my bath while you're with mother."

"Go away, Pin," said Laura snappily. "I told you yesterday you could say Laura, and ... and you're more like a spider than ever."

"Spider" was another nickname for Pin, owed to her rotund little body and mere sticks of legs--she was "all belly" as Sarah put it--and the mere mention of it made Pin fly; for she was very touchy about her legs.

As soon as the door closed behind her, Laura sprang out of bed and, waiting neither to wash herself nor to say her prayers, began to pull on her clothes, confusing strings and buttons in her haste, and quite forgetting that on this eventful morning she had meant to dress herself with more than ordinary care. She was just lacing her shoes when Sarah looked in.

"Why, Miss Laura, don't you know your ma wants you?"

"It's too late. I'm dressed now," said Laura darkly.

Sarah shook her head. "Missis'll be fine an' angry. An' you needn't 'ave 'ad a row on your last day."

Laura stole out of the door and ran down the garden to the summer-house. This, the size of a goodly room, was formed of a single dense, hairy-leafed tree, round the trunk of which a seat was built. Here she cowered, her elbows on her knees, her chin in her hands. Her face wore the stiff expression that went by the name of "Laura's sulks," but her eyes were big, and as watchful as those of a scared animal. If Sarah came to fetch her she would hold on to the seat with both hands. But even if she had to yield to Sarah's greater strength--well, at least she was up and dressed. Not like the last time--about a week ago Mother had tried this kind of thing. Then, she had been caught unawares. She had gone into Pin's warm place, curious and unsuspecting, and thereupon Mother had begun to talk seriously to her, and not with her usual directness. She had reminded Laura that she was growing up apace and would soon be a woman; had told her that she must now begin to give up childish habits, and learn to behave in a modest and womanly way--all disagreeable, disturbing things, which Laura did not in the least want to hear. When it became clear to her what it was about, she had thrown back the bedclothes and escaped from the room. And since then she had been careful never to be long alone with Mother.

But now half an hour went by and no one came to fetch her: her grim little face relaxed. She felt very hungry, too, and when at length she heard Pin calling, she jumped up and betrayed her hiding-place.

"Laura! Laura, where are you? Mother says to come to breakfast and not be silly. The coach'll be here in an hour."

Taking hands the sisters ran to the house.

In the passage, Sarah was busy roping a battered tin box. With their own hands the little boys had been allowed to paste on this a big sheet of notepaper, which bore, in Mother's writing, the words:

Miss Laura Tweedle Rambotham The Ladies' College Melbourne.

Mother herself was standing at the breakfast-table cutting sandwiches.

"Come and eat your breakfast, child," was all she said at the moment. "The tea's quite cold."

Laura sat down and fell to with appetite, but also with a side-glance at the generous pile of bread and meat growing under Mother's hands.

"I shall never eat all that," she said ungraciously; it galled her still to be considered a greedy child with an insatiable stomach.

"I know better than you do what you'll eat," said Mother. "You'll be hungry enough by this evening I can tell you, not getting any dinner."

Pin's face fell at this prospect. "Oh, mother, won't she really get any dinner?" she asked: and to her soft little heart going to school began to seem one of the blackest experiences life held.

"Why, she'll be in the train, stupid, 'ow can she?" said Sarah. "Do you think trains give you dinners?"

"Oh, mother, please cut ever such a lot!" begged Pin sniffing valiantly.

Laura began to feel somewhat moved herself at this solicitude, and choked down a lump in her throat with a gulp of tea. But when Pin had gone with Sarah to pick some nectarines, Mother's face grew stern, and Laura's emotion passed.

"I feel more troubled about you than I can say, Laura. I don't know how you'll ever get on in life--you're so disobedient and self-willed. It would serve you very well right, I'm sure, for not coming this morning, if I didn't give you a penny of pocket-money to take to school."

Laura had heard this threat before, and thought it wiser not to reply. Gobbling up the rest of her breakfast she slipped away.

With the other children at her heels she made a round of the garden, bidding good-bye to things and places. There were the two summer-houses in which she had played house; in which she had cooked and eaten and slept. There was the tall fir-tree with the rung-like branches by which she had been accustomed to climb to the very tree-top; there was the wilderness of bamboo and cane where she had been Crusoe; the ancient, broadleaved cactus on which she had scratched their names and drawn their portraits; here, the high aloe that had such a mysterious charm for you, because you never knew when the hundred years might expire and the aloe burst into flower. Here again was the old fig tree with the rounded, polished boughs, from which, seated as in a cradle, she had played Juliet to Pin's Romeo, and vice versa--but oftenest Juliet: for though Laura greatly preferred to be the ardent lover at the foot, Pin was but a poor climber, and, as she clung trembling to her branch, needed so much prompting in her lines--even then to repeat them with such feeble emphasis--that Laura invariably lost patience with her and the love-scene ended in a squabble. Passing behind a wooden fence which was a tangle of passion-flower, she opened the door of the fowl-house, and out strutted the mother-hen followed by her pretty brood. Laura had given each of the chicks a name, and she now took Napoleon and Garibaldi up in her hand and laid her cheek against their downy breasts, the younger children following her movements in respectful silence. Between the bars of the rabbit hutch she thrust enough greenstuff to last the two little occupants for days; and everywhere she went she was accompanied by a legless magpie, which, in spite of its infirmity, hopped cheerily and quickly on its stumps. Laura had rescued it and reared it; it followed her like a dog; and she was only less devoted to it than she had been to a native bear which died under her hands.

"Now listen, children," she said as she rose from her knees before the hutch. "If you don't look well after Maggy and the bunnies, I don't know what I'll do. The chicks'll be all right. Sarah'll take care of them, 'cause of the eggs. But Maggy and the bunnies don't have eggs, and if they're not fed, or if Frank treads on Maggy again, then they'll die. Now if you let them die, I don't know what I'll do to you! Yes, I do: I'll send the devil to you at night when the room's dark, before you go to sleep.--So there!"

"How can you if you're not here?" asked Leppie.

Pin, however, who believed in ghosts and apparitions with all her fearful little heart, promised tremulously never, never to forget; but Laura was not satisfied until each of them in turn had repeated, in a low voice, with the appropriate gestures, the sacred secret, and forbidden formula:

Is my finger wet? Is my finger dry? God'll strike me dead, If I tell a lie.

Then Sarah's voice was heard calling, and the boys went out into the road to watch for the coach. Laura's dressing proved a lengthy business, and was accomplished amid bustle, and scolding, and little peace-making words from Pin; for in her hurry that morning Laura had forgotten to put on the clean linen Mother had laid beside the bed, and consequently had now to strip to the skin.

The boys announced the coming of the coach with shrill cries, and simultaneously the rumble of wheels was heard. Sarah came from the kitchen drying her hands, and Pin began to cry.

"Now, shut up, res'vor!" said Sarah roughly: her own eyes were moist. "You don't see Miss Laura be such a silly-billy. Anyone 'ud think you was goin', not 'er."

The ramshackle old vehicle, one of Cobb's Royal Mail Coaches, big-bodied, lumbering, scarlet, pulled by two stout horses, drew up before the door, and the driver climbed down from his seat.

The novel begins with a scene of four children lying on the grass, where the elder sister Laura tells a fairy tale. Her narrative is repeatedly interrupted by practical remarks about a dirty sheet and a flock of parrakeets, revealing a tension between imaginative storytelling and mundane reality. Laura's insistence on controlling her story—'If I say they weren't, then they weren't'—foreshadows a struggle between inner vision and external demands. The mother's sharp call to try on a dress introduces the pressure of social conformity. This opening establishes a voice that is both lyrical and sharply observant, alert to the small frictions of family life.

Narrative Voice and the Child's Perspective

The early excerpts show a narrator who stays close to Laura's consciousness, rendering her irritation at interruptions and her pride in her storytelling. The children's nicknames—'Wondrous Fair,' 'Pin,' 'Leppie'—suggest a private world of family language. The mother's exasperation ('Don't put on a face like that, miss!') is rendered without comment, letting the reader infer the emotional weight. This technique of showing rather than telling persists throughout: Laura's feelings are conveyed through physical details, such as kicking her heels or holding her arms 'like pokers.' The narrative voice is precise and unsparing, yet never overtly judgmental.

Social Observation and the Comedy of Manners

In the middle excerpt, Laura visits relatives and encounters a different social code. The uncle's blunt disclosure of her parentage and his teasing about a bustle create a scene of acute embarrassment. The narrator notes the 'jocular tone of the luncheon-table' and Laura's inability to sustain conversation—her 'jerky little remarks' and 'jerky questions.' The walk through the Eastern Market and the Waxworks Exhibition is rendered with sensory detail: the 'ear-splitting' noise, the 'extraordinary smell' that makes Laura 'sniff like a spaniel.' Yet the humor is undercut by Laura's growing weariness with the endless jokes about the umbrella and the 'Married People Only' room. The narrative balances comedy with a sharp awareness of social hierarchies and the strain of performing politeness.

Recurring Motifs: Animals, Smells, and Embarrassment

Several motifs recur across the excerpts. Animals appear frequently: the parrakeets, the grey kitten that Laura strokes in lieu of conversation, the livestock in the market. These creatures often provide a respite from human demands. Smells are described with unusual specificity—the 'complicated smell' of the market, the 'vile stink' that Tilly objects to—anchoring the narrative in physical experience. Embarrassment is a persistent theme: Laura's discomfort at the luncheon table, her relief when Bob leaves, her pretense of finding jokes funny. These moments accumulate to suggest a protagonist who is acutely sensitive to social slights and who often retreats into observation or silence.

Structure and the Reader's Path

The excerpts are drawn from different points in the novel, but they share a consistent focus on Laura's internal experience. The opening scene establishes her as a storyteller; the middle scene tests her social skills; later excerpts (not shown) likely continue this pattern. The novel's 25 chapters suggest a episodic structure, and the excerpts hint at a progression from childhood to adolescence. Readers should attend to shifts in Laura's voice and to the recurring motifs—animals, smells, embarrassment—as markers of her development. The narrative never explicitly states its themes; instead, it invites the reader to infer them from the accumulation of precise, often uncomfortable, observations.

These excerpts offer a reliable guide to the novel's method: close attention to sensory detail, a restrained but pointed narrative voice, and a protagonist who learns through observation and misstep. Readers who enjoy the early scenes of family friction and the later social comedy will find the same qualities sustained throughout. The novel rewards patience with its accumulation of small, telling moments.

I think often of what it means to hear a young voice find its footing—Richardson’s narrator feels that first breath of self-awareness. Years later, I found the same quiet ache in The Son of the Wolf — Inside the Classic, where cold lands mirror a hardening heart. Two books, one soft, one stark, yet both whisper of growing into silence. A gentle companionship, really.

Dylan Robinson
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3 weeks ago

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