What She Could — Key Ideas to Explore

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Warner, Susan, 1819-1885 Project Gutenberg 2009 Not confirmed
Christian life -- Juvenile fiction; Conduct of life -- Juvenile fiction; Family life -- Juvenile fiction; Sisters -- Juvenile fiction; Wealth -- Religious aspects -- Juvenile fiction Readers of public-domain and historical texts
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Words 54,618
Reading time 238 min
Text sections 6

The catalog record for What She Could — Key Ideas to Explore provides practical reading context through 54,618 words, 3 hr 58 min estimated reading time, and 6 detected text sections.

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Susan Warner's 'What She Could' opens with sisters Maria and Matilda returning from a Sunday-school meeting, sparking family debates about duty, religion, and conduct. The narrative contrasts Maria's heedlessness with Matilda's thoughtfulness, as their mother enforces strict standards. Excerpts reveal a domestic drama centered on moral formation and sibling dynamics.
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The house in which these things happened was a brown house, standing on the great high-road of travel which ran through the country, and just where a considerable village had clustered round it. From the upper windows you caught a glimpse of a fine range of blue mountains, lying miles away, and with indeed a broad river flowing between; but the river was too far off to be seen, and hidden behind intervening ground. From the lower windows you looked out into the village street; clean and wide, with comfortable houses standing along the way, not crowded together; and with gardens between and behind them, and many trees shielding and overhanging. The trees were bare now; the gardens a spread of snow; the street a white way for sleigh-runners; nevertheless, the aspect of the whole was hopeful, comfortable, thriving, even a little ambitious. Within this particular house, if you went in, you would see comfort, but little pretension; a neat look of things, but such things as had been mended and saved, and would not be rashly replaced. It was very respectable, therefore, and had no look of poverty. So of the family gathered around the breakfast-table on the morning after the Sunday-School meeting. It was a fair group, healthy and bright; the four girls and their mother. They were nicely dressed; and good appetites spoke of good spirits; and the provision on the table was abundant though plain.

Maria asked if Letty had finished her bonnet last night. Letty said she had.

"And did you put those red flowers in?"

"Not too gay. Just enough. The bonnet would be nothing if it had not flowers."

Maria's spoon paused half way to mouth. "I wonder," she said, gravely, "if Mr. Richmond likes red flowers?"

"He has nothing to do with _my_ bonnet," said Letitia. "And no more have you. You need not raise the question. I shall wear what becomes me."

"What is the difference whether one wears red or blue, Maria?" said her mother. "Do you think one colour is more religious than another?--or more wicked? What do you mean?"

"Nothing, ma'am," Maria answered, a little abashed. "I was only thinking."

"I think Mr. Richmond likes flowers everywhere," said Matilda; "and all colours."

"People that are very religious do not wear flowers in their bonnets though, do they?" said Maria.

"Mr. Richmond did not say any such thing!" said Matilda, indignantly.

"What did he say? What was all this last night's talk about?" said Anne. "I did not understand half of it. Was it against red flowers, or red anything?"

"I did not understand any of it," said Mrs. Englefield.

"Why, mamma, I told you all, as plain as could be," said Maria. "I told you he made a Band----"

"He didn't," interrupted Matilda; "the Band made themselves."

But at this, the shout that went round the breakfast-table threatened to endanger the dishes.

"It's no use trying to talk," said Maria, sullenly, "if you laugh so. I told you there was a Band; ever so many of us rose up and agreed that we would belong to it."

"Matilda, are you in it too?" the mother asked.

"Why not? How comes that?"

"She wasn't ready," her sister said.

"Mamma, I want to understand," said the child.

"Quite right; so do I."

"Wouldn't you do what Mr. Richmond says, whether you understand or not?" inquired Maria, severely.

"I would rather know what it is, first," said Matilda, in her way, which was a compound of cool and demure, but quite natural.

"And when is the next meeting?" said Letitia. "I guess I'll go."

"It won't be for a week," said Matilda.

"And will you join the Band, Letty?" Maria asked somewhat eagerly.

"Why, rise up, when you are asked."

"What does 'rising up' mean, Maria? What do you rise for?"

"Why, it means just that you promise to be good, you know."

"But I have heard you promise that a number of times, it seems to me; without 'rising up,' as you call it. Will the promise not better, if you make it on your feet instead of sitting?"

"Now, mamma," said Maria, flushing, "isn't that just wicked in Letitia?"

"My dear, I do not understand one word at present of what this is all about," her mother answered.

Perhaps Matilda was in the same mood, for she was a thoughtful little child all the way to school that morning. And at the close of the school day, when the children were going home, she went slowly and demurely along the icy street, while her sister and companions made a merry time. There had been a little thaw in the middle of the day, and now it had turned cold again, and the sidewalks were a glare of ice. Matilda was afraid, and went cautiously; Maria and the others took the opportunity for a grand slide, and ran and slipped and slid and sailed away homewards, like mad things. One after another, they passed her and rushed along, till Matilda was left the last, slowly shuffling her little feet over the track the feet of the others had made doubly slippery; when quick steps came up behind her, and a pleasant voice spoke--

"Are you afraid you are going to tumble down?"

Matilda started, but lifted her eyes very contentedly then to the face of the speaker. They had a good way to go, for he was a tall young man. But he was looking down towards her with a bright face, and two good, clear blue eyes, and a smile; and his hand presently clasped hers. Matilda had no objection.

"Where is everybody else? how come you to be all alone?"

"They have gone ahead, sliding on the ice."

"And you do not practise sliding?"

"I am always afraid I shall fall down."

"The best way is not to be afraid; and then you don't fall down. See; no! hold fast. I shall not let you slip!"

And the gentleman and Matilda slid along the street for half a block.

"How do you like that?"

"Very well, Mr. Richmond, with you holding me."

"It doesn't give you courage, eh? Well, we will walk on soberly together. I didn't see you stand when Maria did last night?"

"Mr. Richmond, I did not know just what it all meant; and so I sat still."

"You did not know just what it all meant?"

"Then you were perfectly right to sit still. But that means that I did not speak so that you could understand me? Was it so?"

"I did not understand----" said Matilda.

"It comes to that, I suppose. It is my fault. Well, I shall remember and be very careful what I say the next time. I will speak so that you will understand. But in that case, I want you to do one thing for me, Tilly; will you?"

"If I can, Mr. Richmond."

"Do you think I would ask something you could not do?"

Matilda looked up to the blue eyes again; they were fastened upon her gravely, and she hesitated.

"Mr. Richmond--I don't know. You might."

"I hope not," he said, smiling. "I will try not. You won't promise me?"

"If I can I will, Mr. Richmond."

"I am only going to ask you, when you hear what I have to say next time, if you understand it, will you do what you think you ought to do?"

There fell a silence upon that. Mr. Richmond's firm step on the icy ground and Matilda's light footfall passed by house after house, and still the little one's tongue seemed to be tied. They turned the corner, and went their way along Matilda's own street, where the light of afternoon was now fading, and the western sky was throwing a reflection of its own. Past the butcher's shop, and the post-office, and house after house; and still Matilda was silent, and her conductor did not speak, until they stopped before the little gate leading to the house, which was placed somewhat back from the road. At the gate Mr. Richmond stood still.

"What about my question, Matilda?" he said, without loosing his hold of the little hand which had rested so willingly in his all the way.

"Aren't you coming in, Mr. Richmond?"

"Not to-night. What about my question?"

"Mr. Richmond," said the child, slowly,--"I do not always do the things I ought to do."

"No; I know you do not. But will you do _that_ thing, which you will think you ought to do, when you have heard me, and understood what I say, the next time the Band has a meeting?"

Matilda stood silent, her hand still in Mr. Richmond's.

"Perhaps I shall not want to do it," she said, looking up frankly.

"I ask you to do it all the same."

Matilda did not move, and now her face showed great perplexity.

"Well?" said Mr. Richmond, smiling at last.

"Perhaps I _cannot_ do it, Mr. Richmond?"

"Then, if you think you cannot do it, will you come and tell me?"

Matilda hesitated and pondered and hesitated.

"Do you wish it very much, Mr. Richmond?" she said, looking up appealingly into his face.

"I do wish it very much."

"Then I will!" said Matilda, with a sigh.

He nodded, shook her hand, and turned away with quick steps. Matilda went in and climbed the stairs to the room she and Maria shared together.

"What were you talking to Mr. Richmond so long about?" said Maria.

"I wasn't talking to Mr. Richmond. He was talking to me."

"What's the difference? But I wish he would talk to Ailie Swan; she wants it, I know. That girl is too much!"

"Oh, _you_ don't know; she isn't in your set. _I_ know. She's just disagreeable. I think people ought to be civil, if they are ever so good."

"I thought good people were civil always."

"Shows you don't know much."

"Isn't Ailie Swan civil?"

"I do not call it civility. What do you think, Tilly? I asked her if my South America wasn't good? and she said she thought it was not. Isn't that civility?"

"What did you ask her for?"

"Because! I knew my South America was good."

"Nonsense! You do not know the first thing about it." But she gave her little sister the sheet on which the map was drawn. Matilda took it to a table under the window, where the dying light from the western sky fell brightest; and putting both elbows on the table and her head in her hands, studied the map.

"Where is the atlas?"

"What do you want of the atlas?"

"I want to see if it is like."

"It is like, of course, child."

"I can't tell without seeing," Matilda persisted. And Maria grumblingly brought the atlas, open at the map in question. Matilda took it and studied anew.

"It is getting dark," said she at length. "But your South America is crooked, Maria."

"It isn't!" said Maria, vehemently. "How should it be crooked, when we angle it on, just according to the rules?"

"Angle it on?" repeated Matilda, looking at her sister.

"Yes. Oh, you don't understand, child; how should you? I told you you didn't know anything about it. Of course, we have rules and things to go by; and my South America was put on just right."

"It is not straight, though," said Matilda.

"Why, no, it isn't straight; it is not meant to be straight; it is all crookly crawly, going in and out, all round."

"But it don't stand straight," said Matilda; "and it looks _thin_, too, Maria; it don't puff out as much as the real South America does."

"Puff out!" Maria repeated. "It's as good as Ailie's, anyhow; and a great deal better than Frances Barth's. Frances got a great blot on hers; she's so careless. George Van Dyke is making a nice one; and Ben Barth is doing a splendid map; but then Ben does everything----"

Here there was a great call to tea from below, and the girls went down. Down-stairs there was excitement. A letter had come from Mrs. Candy, Mrs. Englefield's sister, saying that she herself with her daughter Clarissa would be with them the beginning of the week. .

"To stay, mamma? O mamma, is Aunt Candy coming to stay? Do tell me. Is she coming to stay?" Maria exclaimed and questioned.

"She will stay a night with us, Maria. Don't be so eager."

"Only a night, mamma? Won't she be here longer?"

"She is coming to stay till summer, Maria," said her eldest sister. "Do be reasonable."

"I think it is reasonable to want to know," said Maria. "_You_ knew; so you didn't care about it."

"I care a great deal; what do you mean?" said Anne.

"I mean you didn't care about knowing. O mamma, can't I have my dress finished before they come?"

"What dress, Maria?" her sister went on; for Mrs. Englefield was busy with the letter.

"My new merino. It is almost done; it only wants finishing."

"There's all the braid to put on, isn't there?"

"Well, that isn't much. Mamma, cannot I have my red merino finished before they come? I have got nothing to wear."

"What can you mean, Maria? You have everything you want. That is only for your best dress."

"But, mamma, it is just when I should want it, when they come; you'll be having everybody to tea. Won't you have it done for me? please, mamma?"

"I think you can do it for yourself, Maria. I have no objection to your finishing it."

"I cannot put on that braid--in that quirlicue pattern, mamma; I never did such work as that; and I haven't time, besides."

"Nor inclination," said Letitia, laughing. "Come, Maria, it is time you learned to do something for yourself. Matilda, now, might plead inexperience, and have some reason; but you are quite old enough."

The dispute would have gone on, but Mrs. Englefield desired silence, and the family drew round the tea-table. Other plans for the following weeks filled every tongue. Mrs. Candy was well off; a widow with one child, her daughter Clarissa; she had been in Europe for several years; coming back now to her own country, she was bending her steps first of all to her sister's house and family.

"We shall have the new fashions, straight from Paris," Anne remarked.

"Has Aunt Candy been in Paris? I thought she was in Scotland, mamma?"

"People may go to Paris, if they have been in Scotland, Maria. It is not so far as around the world."

"But has she been in Paris?"

"Mamma, what is Aunt Candy going to do with herself when summer comes? She says, 'till summer.'"

"When she tells us, I shall know, Letty. At present I am as ignorant as you."

"Do you think she will buy a house here, and make her home here?"

"That depends on how well she likes Shadywalk, I imagine."

"I would like to see, first, what she is," said Maria. "We shall have time enough for that, if they stay with us till summer. How old, mamma, is Clarissa Candy?"

"Over your age, Maria, by a year or so."

"Will she go to school with us, do you suppose, mamma?"

"I really cannot tell, Maria. I think it very likely."

"Is Aunt Candy very rich?"

"You talk like a foolish girl. Why do you want to know?"

"I was thinking whether Clarissa would be dressed a great deal better than we are."

"And what if she is?"

"Nothing. I was thinking. That's all."

"I don't think it signifies," said Matilda.

"Oh! Matilda has found her tongue! I was waiting to see when she would speak," cried Anne. "What don't signify, little one?"

"It don't signify, I think, whether any one is dressed better than another; anybody--Clarissa or anybody else."

"Well, you are mistaken then," said Anne; "for it does signify. All the world knows it; and what is more, all the world feels it."

"I don't think I do," said Matilda.

"Your time has not come."

"_Your_ time had come, though, before you were as old as she," said her mother; "and Maria's and Letty's."

"I know Matilda is a wonderful child," said Anne, "but her time will come too, mamma; and _she_ will find it makes a difference whether she is dressed one way or another."

"I think _that_ now," observed Matilda.

"Anybody that has to fasten Tilly's dresses knows that," laughed Maria. "I don't make half so much fuss."

"I wish you did," said her mother. "You are not near careful enough in putting on your things. Now putting on is half the battle."

The argument lasted till Tilly and Maria went back to the consideration of South America, which was brought down-stairs to the lamp.

"You haven't got the Amazon right," said Matilda; "and Rio Janeiro is too far down; and it's all crooked--don't you see?"

"No!" said Maria; "and if it is, Ailie Swan needn't have said hers was better."

"What could she say?"

"I don't care; it was awfully rude; and people ought to be polite, if they're ever so good."

"What is all that?" said Mrs. Englefield. "That is not Tilly's map?"

"Oh no, mamma; she can't draw maps; she is only setting up for a judge."

"She would do it as well as that, if she would try," said her mother. "I wish you would love your studies, Matilda. You could do so well if you pleased."

"Clarissa Candy will make you both ashamed," said Anne. "She has learned everything, and is terribly smart; 'going on to learn everything else,' her mother says."

"Mamma," said Maria, "I have only my green silk and my blue delaine for nice dresses; and the silk is old-fashioned, you know, and the delaine is too short; and I want my merino finished."

"I cannot afford every indulgence to you, as your aunt can to Clarissa; you must make it up by your own industry."

"If I am very smart, can you give me things, if I make them up, that I can be as well dressed as Clarissa Candy?"

"Let us see the merino made first," said her mother.

There was great interest now at Shadywalk, at least in one house, to know when the Liverpool steamer, _City of Pride_, would be in. Conjectures proving unsatisfactory and uncertain, the whole family took to studying the marine lists in the daily papers; and when everybody else had looked them over, the last one of the family did it again with extra care; lest by some singular coincidence the letters forming the _City of Pride_ might have escaped the eyes so keen set to find them. The paper grew better than a novel. It furnished a great deal of matter for conversation, besides; for all the steamers which had got in were talked over, with their dates of sailing, and number of days on the passage; with each of which the times, certain and probable, of the _City of Pride_ were compared. Then there was the question, whether Aunt Candy might have changed her mind at the last minute, and waited for another steamer; and the reports of the weather lately experienced at sea were anxiously read and put alongside of the weather lately experienced at Shadywalk.

Preparations in the house went on diligently; whatever might help it to make a better impression, or afford greater comfort to the expected guests, was carefully done. Mrs. Englefield even talked of getting a new stair-carpet, but contented herself with having the old one taken up and put down again, the stairs washed, and the stair-rods brightened; the spare room, the large corner chamber looking to the north and west, was scrupulously swept and dusted; furniture rubbed; little white knitted mats laid on the dressing-table; the chintz curtains taken down and put up again; a new nice chamber set of white china was bought, for the pitcher of the old set had an ugly nick in it and looked shabby; the towel rack was filled with white napery; the handsomest Marseilles quilt was spread on the bed; the stove was blackened and polished. It looked "very respectable," Anne said, when all was done.

What private preparations went on, besides, on the part of the girls, it would be hard to say. Maria worked hard at her braiding--that was open to anybody's observation; but there were less obvious flutings and ironings down in the kitchen, and adjusting of ribbons and flowers in secret consultations up-stairs. And one piece of care was made public by Maria, who announced that Letty had trimmed her old bonnet three times over before she would be suited.

"Very well," said Letty, contentedly. "I should like to know who would wear an old thing when he could have a new; and mine is like new now."

The novel begins with a sharp domestic scene: Maria bursts in with news of a 'Band' in the Sunday-School, only to be ordered to wipe her snowy shoes. Her younger sister Matilda quietly slips off her wet shoes and stands in stocking feet on the rug—a gesture that draws approving smiles. This contrast between Maria's impulsive energy and Matilda's composed thoughtfulness is established within the first paragraphs. The mother's immediate focus on neatness and order sets a tone of moral scrutiny that pervades the household.

Warner's prose lingers on small physical details—the snow, the fireplace, the china vases—to anchor abstract questions of duty and religion in tangible domestic life. The opening chapter thus introduces a family where every action is weighed against standards of perfection, and where the children's responses to authority reveal their character.

A Household of Contrasts

The opening pages immediately distinguish the two younger sisters. Maria is careless, talkative, and prone to muttering; she tracks snow indoors and hides apple peels in a china vase. Matilda, by contrast, is described as having 'delicate features' and a 'refined look and manner,' with movements that show 'a little sort of fastidious grace.' Their mother and older sisters notice this difference, and the narrative aligns itself with Matilda's quiet propriety.

Yet Warner does not simply praise one sister over the other. Maria's energy and directness are also vivid: she is the one who brings news, who asks questions, who feels the 'burn' of money in her pocket. The household is a space of constant negotiation between impulse and order, with the mother as the enforcer of standards. The reader is invited to observe how each girl navigates these expectations.

The Weight of a Mother's Words

Mrs. Englefield's authority is absolute and often harsh. When Maria hides an apple core in a vase, her mother makes her retrieve it, show it to an aunt, wash the vase, and never repeat the act. The punishment is public and humiliating. Later, she tells Maria that religion must prove itself through perfect performance of duties: 'Your lessons must be perfect; your drawers kept in order; your clothes mended.' She warns that any failure will make her treat Maria's religion as 'nothing but a sham.'

This speech is a key moment. It links spiritual sincerity to outward order, a theme that recurs throughout the excerpts. Matilda, in contrast, interprets the same standard more gently, connecting it to Mr. Richmond's idea of being 'light-bearers.' The mother's words are a test that Maria fails, while Matilda absorbs them into her own thoughtful framework.

Money, Desire, and Restraint

In Chapter VIII, Maria announces that a sum of money 'burns my pocket.' She wants to spend it on a writing-desk or a gold chain, but cannot decide. Matilda points out practical obstacles—the desk's lock is unnecessary, the chain would cost more than Maria has. The exchange reveals Maria's restless longing for something fine, and her frustration with limits.

Warner uses this scene to explore how material desire interacts with moral training. Maria's impulses are not condemned outright, but they are set against Matilda's quieter reasoning. The money itself becomes a test of character: will Maria spend it thoughtlessly, or will she learn to deliberate? The excerpt leaves the question open, inviting readers to watch how the sisters' choices unfold.

Voice and Structure in the Excerpts

Warner's narrative voice is direct and economical, with dialogue carrying much of the characterization. The mother's commands are sharp and imperative; Maria's replies are defensive or sullen; Matilda's are thoughtful and often gently corrective. The prose moves quickly between speech and action, with little interior reflection.

The excerpts also show a pattern of escalation: a small infraction (snow on the floor, an apple core) leads to a larger lesson about duty and religion. This structure suggests that the novel will build its moral drama from everyday incidents. Readers should attend to how Warner uses physical objects—shoes, vases, money—as symbols of inner states. The setting is confined largely to the home, but the moral stakes are high.

These excerpts offer a concentrated view of Warner's method: she builds character through small, telling actions and uses domestic conflict to examine larger questions of faith and conduct. The reader is positioned as an observer of family life, where every choice carries weight. As the novel progresses, the tension between Maria's impulsiveness and Matilda's thoughtfulness will likely deepen, and the mother's rigid standards may be tested. Approach the text as a study in moral formation, where the smallest details matter.

I’ve often thought Matilda’s quiet weighing of duty in What She Could finds its echo in another young soul trying to hold a course. Both wrestle with what’s asked of them versus what they can give. That same earnest, halting growth lives in Boys of The Fort; Or, A Young Captain's Pluck — Context and Discussion, where pluck is less about noise than about standing steady when no one claps.

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4.5 out of 5 (4 User reviews )

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  • ...
    Mary Alyssa Hammond - 1 month ago
    What She Could is a compelling narrative that delves deep into the complexities of a woman's choices and societal constraints. The author's nuanced portrayal of the protagonist's inner conflict and determination is both inspiring and thought-provoking. The prose is elegant, and the pacing keeps you engaged from start to finish. A must-read for anyone interested in character-driven stories that explore themes of resilience and self-discovery.

  • ...
    Marcus Terrell - 3 weeks ago
    What She Could is a decent read with a strong central character and some insightful moments about personal agency. However, the plot occasionally meanders, and some secondary characters feel underdeveloped. The writing is solid, but the overall pacing could be tighter. Worth picking up if you enjoy quiet literary fiction, but don't expect a fast-paced plot.

  • ...
    Jennifer Bright - 2 weeks ago
    What She Could fails to fully deliver on its promising premise. The protagonist's struggles feel repetitive, and the narrative lacks emotional depth. The supporting cast is paper-thin, and the ending is abrupt and unsatisfying. While the prose is adequate, the story doesn't offer any fresh insights into its themes. Many readers might find it a tedious and ultimately forgettable experience.


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