Their Child — Key Ideas to Explore

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Herrick, Robert, 1868-1938, Stone, Seymour M., 1877-1957 [Illustrator] Project Gutenberg 2022 Not confirmed
Husband and wife -- Fiction; Parent and child -- Fiction Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 17,435
Reading time 76 min
Text sections 14

Their Child — Key Ideas to Explore can be approached with a clearer sense of reading commitment from its source measurements: 17,435 words, 1 hr 16 min estimated reading time, and 14 detected text sections.

The text analysis averages about 13.6 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 “Husband and wife -- Fiction,” connecting these edition facts with the source record’s subject description.

Robert Herrick's 1903 novel traces a marriage strained by an unwanted pregnancy, using fragmented scenes and recurring imagery of mirrors, champagne, and bodily pain to expose the gulf between husband and wife.
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Editorial Edition Score 4.7/5

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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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Read the Text

, for he whistled, and one or two men who were skulking about joined us. I was so mad that a moment more and I should have had my hands about his windpipe, no matter whether they cut me into mince-meat the next minute. Do you know what it is to feel like doing murder? It’s the drunkest kind of feeling you can have--you don’t know yourself at all--”

“I should like to try that!” sighed Mrs. Bellflower.

At this point there seemed to come somewhere from the rooms above a frightened cry.

“Mercy!” exclaimed the young woman, “what’s that?”

Mrs. Simmons sprang up, and stood listening. Then they could all hear distinctly in a woman’s voice:

“Oh, oh! He has killed me! Oh, oh!” Then silence.

Before the last groans reached their ears Mrs. Simmons had darted into the dark drawing-room, calling as she sped, “Oscar! my little Oscar!”

On the terrace they could hear again more faintly the “Oh, oh, oh!” from above.

“And what _did_ happen to your old Don?” Mrs. Bellflower asked with a show of unconcern.

“Why, nothing much. I--”

“Oh, Olaf! Come, Olaf!”

It was Mrs. Simmons’s voice this time. Simmons bounded from the terrace, calling:

“Yes, Evelyn! Coming, Evelyn!”

The others jumped from their chairs.

“Come, Dr. Vessinger!” exclaimed the Magnificent Wreck. “I think it is time you and I and Miss Flower were gone. Where are the horses?”

“Do you think we should leave quite yet?” the doctor asked, somewhat cynically. “It seems to me the story has just begun.”

“Well, you may stay for the end. But I am going!”

Simmons stumbled across the hall and up the dark staircase. The coming storm had suddenly blackened all the house. The open doors of the bedrooms sucked out the swaying air that came in puffs from the windows. In the eastern room, above the terrace where they had been sitting, Simmons found his wife, clasping their child in a hysterical embrace.

“What have you done? My darling--my one--my Oscar!” A dry sob ended the broken exclamations.

They were huddled in a heap upon the floor beside the window. The child’s face had a look of intense wonder, of concentrated thought upon some difficult idea which eluded his baby mind. Across the iron cot at one side of the room was stretched the inert form of the nurse.

“Look at her, Olaf,” said Mrs. Simmons. “He has--cut her--stabbed her with the knife.”

As Simmons approached the bed, he kicked something with his foot. It fell upon the tiled fireplace with the tinkle of steel. The woman on the bed groaned. Simmons turned on the electric light, and hastily examined the nurse.

“She’s not badly hurt, Evelyn. A scratch along the neck. She fainted at the sight of blood, I guess. But what was the knife?”

He picked up the thing from the fireplace and examined it. It was a long, dull, sharp-pointed knife, brought from the kitchen to cut bread with. Along the edge it was faintly daubed with blood. Simmons, still holding it in his hands, stepped to the window. His wife was crouching there, sobbing over the child, whom she held in her arms tightly. Little Oscar’s eyes were fixed upon the thunder-clouds outside. He neither saw nor heard what was passing in the room. The father leaned over and touched his forehead with his hand. The child shrank away.

“You must take him out of here, Evelyn!” he said. “I will look after her.”

“She must have been cutting the bread for his supper, and laid the knife down on the table for a moment. I--I told her never to leave it about. I have been afraid--of something!”

“You have been afraid?” her husband asked quickly. “Why so?”

The boy moved uneasily and turned his head to watch his father.

“What you got my knife for?” he demanded. “Give me my knife!”

“You shall never, never have it again!” his mother moaned, clasping him more tightly.

“Why not?” he asked curiously. “What’s the matter with Dora? Why’s she lying on my bed? Tell her to get up. I am tired. Oscar wants to go to bed.”

His eyelids fell and rose, as though the long search for the mysterious thing in his mind had put him into a doze.

“He does not seem to know what he has done. What is it? Olaf, what is the matter with him?”

“Ssh, hush! Don’t rouse him. Get him to bed. _Don’t_ let him know. I’ll look after Dora--she’s coming around now--and then I’ll call Vessinger, if it is necessary.”

Robert Herrick's Their Child (1903) opens not with a birth but with a woman's body in revolt. The first excerpt shows a wife confronting her husband with her hair fallen about her shoulders, her speech a torrent of accusation: 'You brought this to me, you!' The scene is framed by a mirror, a device Herrick returns to repeatedly, as if to underscore the characters' fractured self-perception. The husband's response—'We must take this together, love'—is met with a recoil: 'Don't touch me.' This initial collision sets the pattern for a narrative built from sharp, almost theatrical exchanges rather than sustained interiority.

Mirrors and the Gaze

The mirror appears twice in the surviving excerpts, each time as a site of confrontation. In the opening, the wife 'look[s] into the mirror' while hurling reproaches, her hair loose, her body 'strong young breast and shoulders' bared. Later, at the dinner party, Evelyn Simmons watches her husband from across the room, his face 'thrown back' with champagne, and she sees him as if for the first time. Herrick uses these reflective surfaces not for introspection but for exposure: the characters see themselves as objects, and the reader sees them seeing. The mirror does not offer clarity; it multiplies the distance between what is felt and what is shown.

Champagne and the Performance of Ease

Dr. Vessinger's observation—'Does he often enjoy—these good spirits—this—enthusiasm?'—pivots on a glass of champagne. The husband's drinking is described in physical detail: 'his eyes shone with champagne,' he 'drain[s] a fresh glass.' Herrick treats alcohol as a prop in a social theater where the husband acts the part of the carefree diner while his wife watches, 'divin[ing] that it was silly.' The dinner scene is a set piece of misalignment: the wife's misery is read by the doctor in 'the lines in your forehead,' while the husband performs a loud, repetitive gaiety. The champagne glass becomes a barrier, not a bridge.

The Body as Battlefield

Herrick's prose dwells on physical sensation as the site of conflict. The wife's 'instinctive recoil of her young body from terrible suffering, the first twitch of the flesh from the knife' is a metaphor that literalizes her experience of pregnancy as a violation. The husband's hand on her 'beautiful bare shoulders' is rejected. Later, the doctor's gaze is felt as a 'warmth of her blood as it rushed over her face and neck.' These bodily reactions—flinching, flushing, trembling—carry the emotional weight that dialogue often fails to express. The narrative trusts the body to speak where the characters cannot.

Fragments of a Shared Past

The memory of a Sicilian garden—'the roses blooming ... husbanded by bees'—interrupts the dinner scene as a brief, almost lyrical flashback. This is the only glimpse of the couple's courtship, and it arrives through the wife's mind as she sits opposite Dr. Vessinger, the man she 'had sent away.' The garden is a static image, a tableau of romance that contrasts sharply with the present: the noisy dining room, the husband's drunken laughter, the doctor's knowing eyes. Herrick does not develop the memory; he lets it sit as a single, unresolved chord. The reader is left to wonder whether the past is a lost idyll or a false one.

Herrick's method in Their Child is to let scenes collide without commentary. The narrative moves from a bedroom quarrel to a dinner party, from a mirror to a champagne glass, from a Sicilian garden to a New York dining room. The reader must piece together the marriage from these fragments. Pay attention to what is not said—the silences between the wife's outbursts, the husband's unrecorded thoughts, the doctor's withheld motives. The novel's power lies in its gaps.

Years at the desk have taught me that Herrick’s novel, with its mirrors and champagne, is really about the quiet distance we keep from those we love. That ache lingers. I find a curious echo in The Beneficent Burglar — Reading Companion, which studies kindness in unlikely rooms. One observes the broken wedding, the other the strange gift. Both understand silence.

Jack King
1 month ago

Aria Allen
3 weeks ago

Elijah Hill
1 month ago

Emma Carter
1 month ago

5
5 out of 5 (4 User reviews )

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