The Imprudence of Prue — Background and Themes

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Fisher, Sophie, Pfeifer, Herman, 1879-1931 [Illustrator] Project Gutenberg 2014 Not confirmed
Women -- Fiction; London (England) -- Social life and customs -- Fiction Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 90,080
Reading time 392 min
Text sections 13

This digital edition of The Imprudence of Prue — Background and Themes is described by source-level measurements including 90,080 words, 6 hr 32 min estimated reading time, and 13 detected text sections.

The text analysis averages about 18.5 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 “Women -- Fiction,” connecting these edition facts with the source record’s subject description.

Sophie Fisher's 1911 novel follows Prue, a young widow in London, as she navigates the aftermath of a highway robbery and the loss of a queen's diamond necklace. The story weaves Jacobite intrigue, social satire, and romantic tension, with Prue's sharp tongue and the mysterious highwayman Robin Freemantle at its center.
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Editorial Edition Score 4.8/5

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  • Title & short description10 pts
  • Source metadata20 pts
  • Text length15 pts
  • Chapters / structure15 pts
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ecade without one serious assault upon her maiden heart. Devoted to Prue, she was too loyal to think that this was partly the fault of the youthful widow’s all-devouring coquetry, but she was very human, and it wounded her to be forced into acknowledging the contrast.

"Alack, Peggie made short work of their hearts," cried Prue, coming to the rescue. "I only turned their heads. ’Tis strange how foolish men will always be about a widow."

"Foolish enough to marry one widow after being jilted by another," acquiesced the grandmother dryly. "I hear thy erstwhile lover, Lord Beachcombe, has married the Widow Curzon. The baker’s daughter hath a second chance of wearing strawberry-leaves."

"She may have them for aught I care—along with the meanest, ugliest, most disagreeable man that ever decked his empty head withal," cried Prudence. "_I_ am going to marry the finest gentleman in England—the bravest and handsomest—and the cleverest, too. When a man of parts is in Parliament, ’tis his own fault if he be not in the Cabinet—and once in the Cabinet there are garters and coronets to be had for the trouble of reaching after them."

"A politician, too!" sneered the countess. "Pray, which of our worthy statesmen has had his head turned by the widow?"

"Sir Geoffrey Beaudesert," replied Prue, and having got so far she stopped, and the blood rushed in a torrent to her face, crimsoning even her forehead and neck.

"Sir Geoffrey Beaudesert!" the old lady repeated slowly, while her dark, brilliant eyes seemed to burn down into Prue’s inmost soul. "The same that fought the duel with Colonel O’Keefe?"

"Surely," murmured Prue, "I could do no better than give myself to the man who killed my traducer. If Colonel O’Keefe misunderstood or misinterpreted a piece of girlish bravado—was I to blame? And if he dared to comment disparagingly upon what he did not understand, and make a public jest of a woman who had only played a harmless joke upon him—you, dear Grandmother, would be the last to reproach the gentleman who drew sword in her vindication."

"Thereby leading every one to suppose that there was something to vindicate," retorted Lady Drumloch. "If the marriage really takes place, it will put a complete quietus upon ill-natured tongues, but bethink you how they will wag if this should prove another of your _affaires manquées_!"

"I am glad that you approve, Madam," said Prue, with an air of the deepest respect, as she again sank gracefully down in a most profound curtsey.

"I said nothing about approval," replied her grandmother sternly. "I know your Sir Geoffrey Beaudesert—a Whig—a renegade, whose father was a good Catholic and a ’King’s man.’ The son would have made a fitting husband for your father’s daughter if he had been loyal to his father’s king—but you know well that I would rather see you the wife of the least of Jacobites than the greatest of Whigs. Go your own wilful way and do not pretend to ask my approval."

"I am not married to him yet," said Prue, who had not been unprepared for a vigorous protest from her ancestress, and for obvious reasons desired to placate her. "Nor would I contemplate such a step until my dear grandmother’s recovery set me free from anxiety. And now, if your ladyship will permit us to kiss your hand, we will withdraw, as we grieve to hear that your physician has forbidden you all excitement."

During the whole interview the two girls had remained standing—not being invited to seat themselves, nor venturing to do so without permission. As they withdrew after saluting the tapering, ivory fingers of the invalid, she called after them, with more graciousness than she had yet shown, "You may return in the evening and read me Mr. Pope’s poem. I have had it these three weeks and could not bring myself to let Lowton stumble through it. ’Twill give me something to think of besides an old woman’s gout and gruel."

*SIR GEOFFREY’S ARRIVAL*

Lady Drumloch was not really half so ill as she fancied herself, and no better medicine could have been prescribed to hasten her convalescence than the gaiety and cheerfulness that her two granddaughters infused into the atmosphere of the little house in Mayfair, as soon as they had recovered from the fatigues of their journey.

The novel opens with a highway robbery in the gathering darkness of a February evening, where the highwayman's demand for 'Stand and deliver!' is met with a clear, musical voice from one of the two women in the carriage—a voice 'quite free from tremor.' This early contrast between the highwayman's theatrical menace and Prue's composed defiance sets the tone for a story that repeatedly tests the boundaries between social performance and genuine feeling.

Fisher's London is a world of masquerade balls, Jacobite plots, and sharp-tongued aristocrats. The dialogue crackles with political innuendo and personal rivalry, as when Lady Drumloch rebukes Lady Barbara for calling the exiled king a 'King in Exile,' reminding her that he is 'the queen's brother and probably—may the day be distant—will succeed her.' Such exchanges reveal a society where every word carries weight.

The Price of a Kiss and a Necklace

The chapter titles themselves form a narrative of escalating stakes: 'The Price of a Kiss,' 'A Wedding-Ring for a Kiss,' 'The Price of a Birthright.' The queen's diamond necklace, stolen at a masquerade, becomes a McGuffin that ties together highway robbery, Jacobite rebellion, and personal honor. Prue's own 'imprudence'—the quality named in the title—is hinted at in her willingness to engage with the highwayman and her sharp retorts to Sir Geoffrey, whom she accuses of having 'played thief-taker before.' The necklace is not merely a valuable object; it is a symbol of the political and social currency that characters trade in.

The excerpts show that the theft is discussed in terms of its political implications: the highwayman is also a Jacobite plotter, 'known to carry letters and messages from rebels in the South to those in the North.' This dual identity—robber and rebel—reflects the novel's interest in characters who operate on the margins of respectability.

Voices of Authority and Rebellion

Fisher populates her drawing rooms with characters who speak in distinctive registers. Lady Drumloch, a widow who lost her husband and son to the Jacobite cause, speaks in a 'thin, incisive voice' and will not tolerate 'insinuations' against the exiled king. Her authority is both political and personal. In contrast, Lady Barbara's 'tongue runs away with her,' blurting out dangerous truths about the highwayman's real name—De Cliffe—and his connection to a family that 'obtained a pardon for him.'

Prue herself wields language as a weapon: when Lady Barbara suggests the highwayman is a poor relation, Prue retorts, 'It is much easier to understand why he is sending him to the Tower, if he be a poor relation.' The laughter that follows this sally shows how wit can deflect tension. Yet Prue's inner turmoil is revealed in her whispered plea to Peggie: 'Oh! if they would only go.' The gap between her public composure and private anxiety is a recurring pattern.

Theatricality and Disguise

The novel is saturated with performance. The highwayman wears a mask and a 'slouch-brimmed hat,' his appearance carefully stage-managed to inspire terror. The masquerade ball where the necklace is stolen is a literal scene of disguise. Even the characters' social interactions are theatrical: farewell speeches are delivered 'as though they did not expect to meet again in a few hours at dinner, rout or playhouse.'

Prue's own behavior is a performance of composure. After the robbery, she must 'listen to every variation of the story and every kind of theory concerning it' while hiding her connection to the highwayman. The novel's title word 'imprudence' suggests a lapse in this performance—a moment when the mask slips. The excerpts do not reveal what that imprudence is, but they establish a world where everyone is playing a part, and the cost of a misstep is high.

Readers should pay close attention to the political undercurrents that surface in seemingly casual conversations. The Jacobite plot is not merely background color; it drives the plot and shapes the characters' loyalties. Also note the recurring motif of 'kisses' in the chapter titles—a personal currency that, like the necklace, has a price. Fisher's prose rewards careful reading of dialogue, where every barb and evasion carries meaning.

Reading about Prue’s sharp-edged loneliness after the robbery, I found myself thinking of an old notebook’s quiet notes on friendship’s slow warmth. There’s a gentleness in The Days of Auld Lang Syne — Reading Notes that lingers beside her story, like a familiar tune hummed after a long, rain-soaked walk.

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