Little Meg's Children — Reading Companion

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Stretton, Hesba, 1832-1911, Copping, Harold, 1863-1932 [Illustrator] Project Gutenberg 2009 Not confirmed
Christian life -- Juvenile fiction; Siblings -- Juvenile fiction; England -- Juvenile fiction; London (England) -- Juvenile fiction; Poverty -- Juvenile fiction Readers of public-domain and historical texts
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Words 26,719
Reading time 117 min
Text sections 3

Little Meg's Children — Reading Companion can be approached with a clearer sense of reading commitment from its source measurements: 26,719 words, 1 hr 57 min estimated reading time, and 3 detected text sections.

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

An editorial note examining Hesba Stretton's precise diction and descriptive choices in this Victorian tale of a motherless girl caring for her siblings in London's East End, based on excerpts from the first chapter.
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There was certainly an advantage in living in the attics of the end house in Angel Court, for the air was a trifle purer there and the light clearer than in the stories below. From the small windows might be seen the prospect, not only of the narrow court, but of a vast extent of roofs, with a church spire here and there, and the glow of the sky behind them, when the sun was setting in a thick purplish cloud of smoke and fog. There was greater quiet also, and more privacy up in the attics than beneath, where all day long people were trampling up and down the stairs, and past the doors of their neighbours' rooms. The steep staircase ended in a steeper ladder leading up to the attics, and very few cared to climb up and down it. It was perhaps for these reasons that the wife of a sailor, who had gone to sea eight months before, had chosen to leave a room lower down, for which he had paid the rent in advance, in order to mount into higher and quieter quarters with her three children.

Whatever may have been her reason, it is certain that the sailor's wife, who had been ailing before her husband's departure, had, for some weeks past, been unable to descend the steep ladder into the maze of busy streets, to buy the articles necessary for her little household, and that she had steadily refused all aid from her neighbours, who soon left off pressing it upon her. The only nurse she had, and the only person to whom she would entrust her errands, was her eldest child, a small, spare, stunted girl of London growth, whose age could not be more than ten years, though she wore the shrewd, anxious air of a woman upon her face, with deep lines wrinkling her forehead and puckering about her keen eyes. Her small bony hands were hard with work; and when she trod to and fro about the crowded room, from the bedside to the fireplace, or from the crazy window to the creaking door, which let the cold draughts blow in upon the ailing mother, her step was slow and silent, less like that of a child than of a woman who was already weary with much labour. The room itself was not large enough to cause a great deal of work; but little Meg had had many nights of watching lately, and her eyes were heavy for want of sleep, with the dark circles underneath them growing darker every day.

The evening had drawn in, but Meg's mother, her head propped up with anything that could be made into a pillow, had watched the last glow of the light behind the chimneys and the church spires, and then she turned herself feebly towards the glimmer of a handful of coals burning in the grate, beside which her little daughter was undressing a baby twelve months old, and hushing it to sleep in her arms. Another child had been put to bed already, upon a rude mattress in a corner of the room, where she could not see him; but she watched Meg intently, with a strange light in her dim eyes. When the baby was asleep at last, and laid down on the mattress upon the floor, the girl went softly back to the fire, and stood for a minute or two looking thoughtfully at the red embers.

'Little Meg!' said her mother, in a low, yet shrill voice.

Meg stole across with a quiet step to the bedside, and fastened her eyes earnestly upon her mother's face.

'Do you know I'm going to die soon?' asked the mother.

'Yes,' said Meg, and said no more.

'Father'll be home soon,' continued her mother, 'and I want you to take care of the children till he comes. I've settled with Mr Grigg downstairs as nobody shall meddle with you till father comes back. But, Meg, you've got to take care of that your own self. You've nothing to do with nobody, and let nobody have nothing to do with you. They're a bad crew downstairs, a very bad crew. Don't you ever let any one of 'em come across the door-step. Meg, could you keep a secret?'

'Yes, I could,' said Meg.

'I think you could,' answered her mother, 'and I'll tell you why you mustn't have nothing to do with the crew downstairs. Meg, pull the big box from under the bed.'

The box lay far back, where it was well hidden by the bed; but by dint of hard pulling Meg dragged it out, and the sailor's wife gave her the key from under her pillow. When the lid was open, the eyes of the dying woman rested with interest and longing upon the faded finery it contained--the bright-coloured shawl, and showy dress, and velvet bonnet, which she used to put on when she went to meet her husband on his return from sea. Meg lifted them out carefully one by one, and laid them on the bed, smoothing out the creases fondly. There were her own best clothes, too, and the children's; the baby's nankeen coat, and Robin's blue cap, which never saw the light except when father was at home. She had nearly emptied the box, when she came upon a small but heavy packet.

'That's the secret, Meg,' said her mother in a cautious whisper. 'That's forty gold sovereigns, as doesn't belong to me, nor father neither, but to one of his mates as left it with him for safety. I couldn't die easy if I thought it wouldn't be safe. They'd go rooting about everywhere; but, Meg, you must never, never, never let anybody come into the room till father's at home.'

'I never will, mother,' said little Meg.

'That's partly why I moved up here,' she continued. 'Why, they'd murder you all if they couldn't get the money without. Always keep the door locked, whether you're in or out; and, Meg dear, I've made you a little bag to wear round your neck, to keep the key of the box in, and all the money I've got left; it'll be enough till father comes. And if anybody meddles, and asks you when he's coming, be sure say you expect him home to-day or to-morrow. He'll be here in four weeks, on Robin's birthday, may be. Do you know all you've got to do, little Meg?'

'Yes,' she answered. 'I'm to take care of the children, and the money as belongs to one of father's mates; and I must wear the little bag round my neck, and always keep the door locked, and tell folks I expect father home to-day or to-morrow, and never let nobody come into our room.'

'That's right,' murmured the dying woman. 'Meg, I've settled all about my burial with the undertaker and Mr Grigg downstairs; and you'll have nothing to do but stay here till they take me away. If you like, you and Robin and baby may walk after me; but be sure see everybody out, and lock the door safe afore you start.'

She lay silent for some minutes, touching one after another the clothes spread upon the bed as Meg replaced them in the box, and then, locking it, put the key into the bag, and hung it round her neck.

'Little Meg,' said her mother, 'do you remember one Sunday evening us hearing a sermon preached in the streets?'

'Yes, mother,' answered Meg promptly.

'What was it he said so often?' she whispered. 'You learnt the verse once at school.'

'I know it still,' said Meg. '"If ye then, being evil, know how to give good gifts unto your children: how much more shall your Father which is in heaven give good things to them that ask Him?"'

'Ay, that's it,' she said faintly; 'and he said we needn't wait to be God's children, but we were to ask Him for good things at once, because He had sent His own Son to be our Saviour, and to die for us. "Them that ask Him, them that ask Him"; he said it over and over again. Eh! but I've asked Him a hundred times to let me live till father comes home, or to let me take baby along with me.'

'May be that isn't a good thing,' said Meg. 'God knows what are good things.'

The dying mother pondered over these words for some time, until a feeble smile played upon her wan face.

'It 'ud be a good thing anyhow,' she said, 'to ask Him to forgive me my sins, and take me to heaven when I die--wouldn't it, Meg?'

Yes, that's sure to be a good thing,' answered Meg thoughtfully.

'Then I'll ask Him for that all night,' said her mother, 'and to be sure take care of you all till father comes back. That 'ud be another good thing.'

She turned her face round to the wall with a deep sigh, and closed her eyelids, but her lips kept moving silently from time to time. Meg cried softly to herself in her chair before the fire, but presently she dozed a little for very heaviness of heart, and dreamed that her father's ship was come into dock, and she, and her mother, and the children were going down the dingy streets to meet him. She awoke with a start; and creeping gently to her mother's side, laid her warm little hand upon hers. It was deadly cold, with a chill such as little Meg had never before felt; and when her mother neither moved nor spoke in answer to her repeated cries, she knew that she was dead.

Little Meg as a Mourner

For the next day, and the night following, the corpse of the mother lay silent and motionless in the room where her three children were living. Meg cried bitterly at first; but there was Robin to be comforted, and the baby to be played with when it laughed and crowed in her face. Robin was nearly six years old, and had gained a vague, dim knowledge of death by having followed, with a troop of other curious children, many a funeral that had gone out from the dense and dirty dwellings to the distant cemetery, where he had crept forward to the edge of the grave, and peeped down into what seemed to him a very dark and dreadful depth. When little Meg told him mother was dead, and lifted him up to kneel on the bedside and kiss her icy lips for the last time, his childish heart was filled with an awe which almost made him shrink from the sight of that familiar face, scarcely whiter or more sunken now than it had been for many a day past. But the baby stroked the quiet cheeks, whilst chuckling and kicking in Meg's arms, and shouted, 'Mam! mam! mam!' until she caught it away, and pressing it tightly to her bosom, sat down on the floor by the bed, weeping.

'You've got no mam but me now, baby,' cried little Meg. She sat still for a while, with Robin lying on the ground beside her, his face hidden in her ragged frock; but the baby set up a pitiful little wail, and she put aside her own grief to soothe it.

'Hush! hush!' sang Meg, getting up, and walking with baby about the room. 'Hush, hush, my baby dear! By-by, my baby, by-by!'

Meg's sorrowful voice sank into a low, soft, sleepy tone, and presently the baby fell fast asleep, when she laid it upon Robin's little mattress, and covered it up gently with an old shawl. Robin was standing at the foot of the bed, gazing at his mother with wide-open, tearless eyes; and little Meg softly drew the sheet again over the pale and rigid face.

'Robbie,' she said, 'let's sit in the window a bit.'

They had to climb up to the narrow window-sill by a broken chair which stood under it; but when they were there, and Meg had her arm round Robin, to hold him safe, they could see down into Angel Court, and into the street beyond, with its swarms of busy and squalid people. Upon the stone pavement far below them a number of children of every age and size, but all ill-clothed and ill-fed, were crawling about, in and out of the houses, and their cries and shrieks came up to them in their lofty seat; but of late their mother had not let them run out to play in the streets, and they were mostly strangers to them except by sight. Now and then Meg and Robin cast a glance inwards at the quiet and still form of their mother, lying as if silently watching them with her half-closed eyes, and when they spoke to one another they spoke in whispers.

'Mother is going to live with the angels,' said Meg.

'What are angels?' asked Robin, his glittering black eyes glancing at the bed where she lay in her deep sleep.

'Oh, I'm not quite sure,' answered Meg. 'Only they're beautiful people, who are always white and clean, and shining, like that big white cloud up in the sky. They live somewhere up in the sky, where it's always sunny, and bright, and blue.'

'How 'll mother get up there?' inquired Robin.

'Well, I suppose,' replied Meg, after some reflection, 'after they've put her in the ground, the angels 'll come and take her away. I read once of a poor beggar, oh such a poor beggar! full of sores, and he died, and the angels carried him away somewhere. I thought, may be, they'd come for mother in the night; but I suppose they let people be buried first now, and fetch 'em away after.'

'I should like to see some angels,' said Robin.

They were silent again after that, looking down upon the quarrelling children, and the drunken men and women staggering about the yard below. Now and then a sharper scream rang through the court, as some angry mother darted out to cuff one or another of the brawling groups, or to yell some shrill reproach at the drunken men. No sound came to the ears of the listening children except the din and jarring tumult of the crowded city; but they could see the white clouds floating slowly across the sky over their heads, which seemed to little Meg like the wings of the waiting angels, hovering over the place where her mother lay dead.

'Meg,' said Robin, 'why do they call this Angel Court? Did the angels use to live here?'

'I don't think they ever could,' she answered sadly, 'or it must have been a long, long time ago. Perhaps they can't come here now, so they're waiting for mother to be taken out to the burying-ground afore they can carry her up to the sky. May be that's it.'

'Meg,' whispered Robin, pressing closer to her side, 'what's the devil?'

'Oh, I don't know,' cried Meg; 'only he's dreadfully, dreadfully wicked.'

'As wicked as father is when he's drunk?' asked Robin.

'Oh, a hundred million times wickeder,' answered Meg eagerly. 'Father doesn't get drunk often; and you mustn't be a naughty boy and talk about it.'

It was already a point of honour with little Meg to throw a cloak over her father's faults; and she spoke so earnestly that Robin was strongly impressed by it. He asked no more questions for some time.

'Meg,' he said at last, 'does the devil ever come here?'

'I don't think he does,' answered Meg, with a shrewd shake of her small head; 'I never see him, never. Folks are bad enough without him, I guess. No, no; you needn't be frightened of seeing him, Robbie.'

'I wish there wasn't any devil,' said Robin.

'I wish everybody in London was good,' said Meg.

They sat a while longer on the window-sill, watching the sparrows, all fluffy and black, fluttering and chattering upon the house-tops, and the night fog rising from the unseen river, and hiding the tall masts, which towered above the buildings. It was dark already in the court below; and here and there a candle had been lit and placed in a window, casting a faint twinkle of light upon the gloom. The baby stirred, and cried a little; and Meg lifted Robin down from his dangerous seat, and put two or three small bits of coal upon the fire, to boil up the kettle for their tea. She had done it often before, at the bidding of her mother; but it seemed different now. Mother's voice was silent, and Meg had to think of everything herself. Soon after tea was over she undressed Robin and the baby, who soon fell asleep again; and when all her work was over, and the fire put out, little Meg crept in beside them on the scanty mattress, with her face turned towards the bed, that she might see the angels if they came to carry her mother away. But before long her eyelids drooped over her drowsy eyes, and, with her arm stretched lightly across both her children, she slept soundly till daybreak.

No angels had come in the night; but early in the morning a neighbouring undertaker, with two other men, and Mr Grigg, the landlord, who lived on the ground-floor, carried away the light burden of the coffin which contained Meg's mother. She waited until all were gone, and then she locked the door carefully, and with baby in her arms, and Robin holding by her frock, she followed the funeral at a distance, and with difficulty, through the busy streets. The brief burial service was ended before they reached the cemetery, but Meg was in time to show Robin the plate upon the coffin before the grave-digger shovelled down great spadefuls of earth upon it. They stood watching, with sad but childish curiosity, till all was finished; and then Meg, with a heavy and troubled heart, took them home again to their lonely attic in Angel Court.

Little Meg's Cleaning Day

For a few days Meg kept up closely in her solitary attic, playing with Robin and tending baby; only leaving them for a few necessary minutes, to run to the nearest shop for bread or oatmeal. Two or three of the neighbours took the trouble to climb the ladder, and try the latch of the door, but they always found it locked; and if Meg answered at all, she did so only with the door between them, saying she was getting on very well, and she expected father home to-day or to-morrow. When she went in and out on her errands, Mr Grigg, a gruff, surly man, who kept everybody about him in terror, did not break his promise to her mother, that he would let no one meddle with her; and very quickly the brief interest of Angel Court in the three motherless children of the absent sailor died away into complete indifference, unmingled with curiosity: for everybody knew the full extent of their neighbours' possessions; and the poor furniture of Meg's room, where the box lay well hidden and unsuspected under the bedstead, excited no covetous desires. The tenant of the back attic, a girl whom Meg herself had seen no oftener than once or twice, was away on a visit of six weeks, having been committed to a House of Correction for being drunk and disorderly in the streets; so that by the close of the week in which the sailor's wife died no foot ascended or descended the ladder, except that of little Meg.

Hesba Stretton opens Little Meg's Children with a topographical description of London's East End that is anything but sentimental. The narrator maps a "tangled knot of narrow streets" and "blind alleys" with the precision of a surveyor, noting where two conveyances can pass and where neighbours can shake hands from opposite windows. This attention to physical constraint establishes a world where space itself is a scarce resource. The yard called Angel Court, nine feet wide, with its "interlacing rows of clothes-lines" and "yellow, half-washed rags," is rendered in concrete detail that conveys poverty without melodrama. Stretton's choice to begin not with character but with geography signals that environment will be an active force in the story.

Diction of Deprivation

The vocabulary of scarcity is woven into the narrative voice. Words like "dingy," "grimed," "squalid," and "gloomy" recur in the opening paragraphs, but Stretton avoids abstract pity. Instead, she specifies: the windows "scarcely admit even the gloomy light." When Meg appears, her "old brown bonnet just rose above the top of the closed half" of a shop door—a detail that measures her smallness against the adult world. The narrator reports that Meg's feet are "bare and aching," and that Robin has struck his "numbed foot against a piece of iron" until it bleeds. These are not general claims of suffering but precise, bodily observations. The effect is to make the children's hardship tangible without authorial commentary.

Dialogue as Character Marker

Stretton distinguishes characters through their speech patterns. The dock worker uses colloquial, direct language: "Hollo, little woman!" and "I haven't set eyes on you this many a day." His questions are blunt: "What makes you be doing only middling?" Mrs. Blossom's exclamation—"Well, I never!"—and her immediate action of seizing the baby reveal a practical, warm nature. Meg's speech is marked by a formal, almost adult politeness: "They're here, sir, thank you" and "If you please, ma'am, I'm only so glad." Her most striking line—"There's nobody to take care of us but God"—is delivered "simply and softly," without self-pity. The contrast between the adults' rough kindness and Meg's restrained dignity creates a quiet tension.

Narrative Distance and Sympathy

Stretton maintains a curious narrative distance. The third-person voice reports events without entering Meg's thoughts directly. When Meg cannot eat, the narrator describes her external actions: "her pale face quivered all over, and letting fall her knife and fork, she hid it in her trembling hands." The reason is given in dialogue—"If you please, ma'am, I'm only so glad"—not in interior monologue. This technique forces the reader to infer emotion from gesture and speech. The narrator also uses understatement: Meg feels "very low to-day." The effect is to avoid sentimentality while still generating sympathy. The reader must work to feel with Meg, which makes the sympathy earned rather than imposed.

Structure of the Opening Chapter

The first chapter, titled "Motherless," moves from general to particular. It begins with the labyrinthine streets, narrows to Angel Court, then to the end house, and finally to the attic where Meg lives. Only after establishing this layered setting does the narrative introduce the children. The chapter then shifts to the shop scene, where the dock worker and Mrs. Blossom offer help. This structure mirrors the children's isolation: they are hidden within a dense urban warren. The chapter ends with Meg's gratitude, not with resolution. Stretton uses the chapter title as a thematic anchor, but the word "motherless" never appears in the chapter text—the fact is conveyed through Meg's statement "Mother's dead" and the narrator's earlier description of the children as orphans.

Readers attentive to Stretton's craft will notice how she uses physical details—the width of a street, the height of a bonnet, the smell of cooking tripe—to carry emotional weight. The narrative withholds judgment, letting the environment and dialogue speak. This restraint makes the moments of kindness, such as the dock worker's abrupt departure after providing a meal, more affecting. The excerpts suggest a story that trusts its readers to see the significance in small, concrete observations.

There’s a particular ache in watching Little Meg’s Children shoulder so much alone—how Stretton lets her smallness say everything. It reminded me of another quiet voice, one that holds a child’s world gently in place. That guide, When Grandmamma Was New: The Story of a Virginia Childhood — A Reader’s Guide, lingers with the same soft gravity. Both left me feeling I’d been trusted with something delicate.

Luke Roberts
3 weeks ago

Joseph Lopez
1 week ago

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5 out of 5 (2 User reviews )

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  • ...
    Martin Hays - 1 month ago
    While the theme is noble, the execution feels dated and overly sentimental. The protagonist's voice doesn't always ring true for a child, and the moralizing can be heavy-handed. The pacing drags in parts, making it a chore to get through. Readers expecting a more nuanced or engaging narrative may find this lacking.

  • ...
    Julie Chandler - 3 weeks ago
    The story offers a touching portrayal of a child's hardships and sense of duty. The writing is effective and the setting vividly described. However, the plot moves slowly at times and some of the supporting characters feel underdeveloped. Still, it's a worthwhile read for those interested in Victorian-era moral tales.

  • ...
    Andrea Brown - 1 week ago
    Little Meg's Children is a heartwarming and poignant tale that beautifully captures the struggles and resilience of a young girl thrust into responsibility. The characters are vividly drawn, and the narrative is both touching and inspiring. I was deeply moved by Meg's determination and the book's emotional depth. A classic that still resonates today.


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