The Bishop's Apron: A study in the origins of a great family — Text and Context
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The source record for The Bishop's Apron: A study in the origins of a great family — Text and Context measures this digital text at 70,041 words, 5 hr 5 min estimated reading time, and 8 detected text sections.
The text analysis averages about 13.9 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 “Clergy -- England -- Fiction,” connecting these edition facts with the source record’s subject description.
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Read the Text
ittle like a clergyman as possible.
“I’m told he’s dying,” answered the Canon, gravely. “He’s been out of health for a long time, and I cannot help thinking that when the end comes it will be a happy release.”
“I met him once and thought him a very brilliant man,” remarked Lady Sophia.
“Andover?” cried the Canon, with surprise, throwing himself back in his chair. “My dear Sophia! I know he had a certain reputation for learning, but _I_ never had any great opinion of it.”
Lady Sophia for all reply pursed her lips. She exchanged a glance with Lord Spratte.
“Of course I am the last person to say anything against a man who stands on the threshold of eternity,” added the Canon. “But between ourselves, if the truth _must_ be told--he was nothing more than a doddering old idiot. And a man of no family.”
Than this, in Theodore Spratte’s judgment, nothing could be said more utterly disparaging.
“I wonder who’ll succeed him,” said Lionel, thoughtfully.
“I really don’t know who there is with any great claim upon the Government.” He met his brother’s bantering smile, and quick to catch its meaning, answered without hesitation. “To tell you the truth, Thomas, I shouldn’t be at all surprised if Lord Stonehenge offered the bishopric to me.”
“You’d look rather a toff in leggings,” observed the other. “Wouldn’t he, Sophia?”
Lady Sophia gave the Canon an inquiring stare.
“My dear Tommy, I’ve not seen his legs for forty years.”
“I think this is hardly a matter upon which you should exercise your humour, my dear,” retorted the Canon, with a twinkle in his eye.
“Well, I hope you will accept no bishopric until you’ve made quite sure that the golf-links are beyond reproach,” said Lord Spratte.
“I’ll tell Lord Stonehenge that an eighteen-hole course is a _sine qua non_ of my elevation to the Episcopacy,” retorted the Canon, ironically.
Between Lord Spratte and his sister on the one hand and Theodore on the other, was an unceasing duel, in which the parson fought for the respect due to his place and dignity, while the others were determined to suffer no nonsense. They attacked his pretension with flouting and battered his pomposity with ridicule. To anything in the nature of rhodomontade they were merciless, and in their presence he found it needful to observe a certain measure. He knew that no society was august enough to abash them into silence, and so took care not to expose himself under very public circumstances to the irony of the one or to the brutal mocking of the other. But the struggle was not altogether unpleasant. He could hit back with a good deal of vigour, and never hesitated to make plain statements in plain language. His position gave him the advantage that he could marshal on his side the forces of morality and religion; and when they had dealt so good a blow that he could not conceal his discomfiture, he was able to regain his self-esteem by calling them blasphemous or vulgar.
The Canon turned to his daughter with an affectionate smile.
“And what have you been doing this morning, Winnie?”
“I went to see the model dwellings that Mr. Railing is interested in.”
“By Jove, you’re not goin’ in for district visitin’, Winnie?” cried her uncle, putting up his eye-glass. “I hope you won’t catch anything.”
Winnie blushed a little under his stare.
“The condition of the poor is awfully bad. I think one ought to do something.”
“Who is Mr. Railing?” inquired Lionel. “One of the Worcestershire Railings?”
“No, just a common or garden Railing,” said the Canon.
He rubbed his hands and looked round the table for appreciation of this mild jest, but only his curate was civil enough to smile.
“He’s a mighty clever young man, and I think he’ll be very useful to me,” he added.
“I notice that your actions are always governed by unselfish motives,” murmured Lady Sophia.
“God helps those who help themselves. Mr. Railing is a Christian Socialist and writes for the Radical papers. I think he has a future, and I feel it my duty to give him some encouragement.” His voice assumed those rolling, grandiloquent tones which rang so effectively in St. Gregory’s Church. “Now-a-days, when Socialism is rapidly becoming a power in the land, when it is spreading branches into every stratum of society, it behoves us to rally it to the Church. Christianity is Socialism.”
Lady Sophia gave a deprecating smile: “My dear Theodore, remember that only your family is present.”
The novel opens not with a bishop but with his butler: Ponsonby, whose 'flabby and corpulent' frame and 'earnest, obsequious voice' make visitors glance at his calves for episcopal gaiters. This comic inversion sets the tone for a story in which clerical dignity is a performance. Canon Spratte, the actual clergyman, is introduced through his brother Lord Spratte, a middle-aged man who 'takes more care of his hands than a professional beauty' and uses 'numerous pots and jars and bottles' to deny his age. The catalog subjects list 'Clergy -- England -- Fiction' and 'Families -- Fiction,' but the excerpts focus less on pastoral work than on domestic theatre: luncheon arrangements, social calls, and the careful management of appearances.
The Butler as Bishop
Ponsonby, the butler, is described with language that parodies ecclesiastical dignity. His movements are 'measured and noiseless,' his face 'undisturbed by the rapid play of expression,' and his voice gives 'an impression of such overwhelming piety' that one looks for gaiters. The footman Alfred calls Lord Spratte 'Tommy Tiddler,' and Ponsonby rebukes him with a 'frigid stare,' emphasizing the aspirate to mark his disapproval. This hierarchy of servants mirrors the social ladder above stairs: the butler polices decorum more strictly than his master does. When Lord Spratte arrives, Ponsonby 'gave no sign of recognition,' though he has seen him twice a week for ten years. The comedy lies in the gap between the butler's solemnity and the triviality of the household's concerns.
The Canon's Double Sermon
Canon Spratte delivers a sermon on suffering: 'From a bed of sickness may spring the most delicate flowers of unselfishness.' The narrator immediately undercuts this: 'For his own part, when forced to visit his dentist for the extraction of a tooth, he took good care to have gas properly administered.' The Canon sees himself as a 'surgeon who applies irritation that the ragged edges of an ulcer may inflame and heal,' but the reader suspects self-interest. When his daughter Winnie reveals her fiancé's mother drinks, the Canon blandly says, 'Well, well, we all have our little failings in this world.' His piety is a tool, not a conviction. The excerpts show him calculating how to manage Winnie's engagement while maintaining his image as a benevolent father who would never 'thwart' a child's choice.
Social Performance and the Body
Physical appearance is a constant preoccupation. Lord Spratte's 'increasing girth' requires 'many careful adjustments' from his tailor; his hair is 'a source of anxiety.' Winnie's 'pallor' and 'melancholy' become assets in the 'soft light of shaded electricity.' The Canon himself is 'at his best in smaller gatherings' where his personality can 'make itself felt'; in a crowd he is 'jostled and pushed' and 'quickly grew bored.' The novel's comedy emerges from the gap between how characters present themselves and what the narrator reveals. The butler's episcopal air, the lord's cosmetic regime, the Canon's theatrical piety—all are performances that the text gently exposes. The catalog subject 'England -- Social life and customs -- Fiction' is borne out by these minute observations of class, vanity, and domestic ritual.
The excerpts offer a sustained comedy of clerical and social pretension, but the full novel may develop the family dynamics hinted at in Winnie's engagement and the Canon's schemes. Readers should attend to Maugham's use of free indirect discourse, which slides between characters' self-images and the narrator's dry commentary. The butler Ponsonby, who appears only briefly, may serve as a running joke about the gap between appearance and reality—a theme that likely runs through the entire study of 'the origins of a great family.'
Rereading The Bishop's Apron, I lingered on Canon Spratte’s hollow sermons, the way his robes draped a man who believed in nothing but his own elevation. It made me think of another quiet book, Caleb Wright: A Story of the West — A Closer Reading, where a similar gap yawns between a man’s words and his worn, honest hands. Neither ever quite admits the distance.
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