The Daughter of a Soldier: A Colleen of South Ireland — Reading Notes
Edition facts
The catalog record for The Daughter of a Soldier: A Colleen of South Ireland — Reading Notes provides practical reading context through 81,737 words, 5 hr 56 min estimated reading time, and 8 detected text sections.
The text analysis averages about 14.2 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 “Conduct of life -- Juvenile fiction,” connecting these edition facts with the source record’s subject description.
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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.
Read the Text
It was a glorious midsummer day in the south of Ireland; it seemed as though the birds wanted to sing their little hearts out. The trees were in full leaf, and every flower bloomed with extra charm and extra perfume. The old Rectory, situated in the well-known county of Cork, was in a very lonely part. On one side it was five miles away from the charming little town of Kingsala, and on the other quite ten miles from the thriving and more mercantile town of Bradley. The Rectory stood by itself, its thirty acres of grounds surrounding it. It had a back avenue and a winding front avenue, but its special charm was its great fruit garden. This was generally kept locked, for the Rector was most particular with regard to his fruit. It had in addition a great lawn, studded over with flower-beds filled mostly with roses. Just below this lawn was an apiary full of bees. Then there were fields, cultivated sometimes with grass for hay, sometimes with potatoes, sometimes again with other vegetables; but beyond the lawn and the fields were great pasture lands full of sheep, which formed a constant source of income to the Rector, who was not too well off. His income from his living was exactly one pound a day, but his wife, a haughty dame, with fiery blue eyes and red hair, had large private means; therefore Templemore was always kept in a certain kind of order. There were the necessary number of gardeners; the old-fashioned and queer-looking house had a great many servants, who did their work in the Irish fashion, which was slovenly and untidy enough; but nevertheless, they always managed to have a good dinner for "Herself," as they called Mrs. O'Brien, being very much afraid, "so to spake, of the wummen's tongue." That tongue could scathe them, and they did not want to be scathed.
On this summer day, when the story opens, Maureen lay flat on her back and looked up, up, up, through the tall trees to the blue sky, which peeped down through the branches at her. She was lying on a nest of periwinkles, some white, some blue. There was clover within reach also, and butterflies were flying here, there, and everywhere. Maureen picked one or two periwinkles and watched the butterflies as they flew from flower to flower. But she was not really interested either in the butterflies or the flowers. She was listening intently to the song of the lark, piercing, high, and clear, as he soared up from his bed of earth to his heavenly home, until he looked a mere speck in the ethereal distance. Close to her were the missel-thrush and the blackbird, and the chirping, independent little Robin Redbreast, and a few swallows darting here and there. Yes, they were all about her, they were all around her, and they made this summer day the perfection of bliss.
An Irish terrier, by name Larry, with his rough coat of golden, tawny yellow, lay by her side. Now and then Maureen fondled him with her useful little hand--that hand which was so seldom idle, and was only idle now because she was a trifle anxious--only a trifle, but still, she did not feel _quite_ herself, for undoubtedly things were happening and she did not know what they were. She wanted to know, but could not find out. She dreaded to ask, but she dreaded the reply still more.
Maureen was not exactly pretty, but she had what is called a lovable face, and her uncle, the Reverend Patrick O'Brien, loved her quite as much as he did his only daughter Kitty, aged six years, and his brave young son Dominic, a boy who, according to the well-known Irish saying, could lure the birds out of the bushes by the love-light that always seemed to shine out of his honest, deep-blue eyes--those truly Irish eyes with their thick jet-black upward-curled lashes.
Then there was Denis, a dear little fellow, some years younger than Dominic, but on the other hand some years older than Kitty, with her sweet ways and angelic dimples and masses of bright golden hair.
Maureen was the only child of Major O'Brien, twin-brother of the Reverend Patrick O'Brien. The gallant and noble Major had died of a wound inflicted in battle. He died in rescuing a brother soldier, but lived long enough to obtain the Victoria Cross and to put his only child, a little girl of six years of age, into his brother's care.
The novel opens with a striking contrast: a glorious midsummer day in the south of Ireland, where birds sing and flowers bloom, yet the Rectory stands in a lonely part of County Cork. The setting is idyllic but isolated, with a locked fruit garden and an apiary—details that hint at both protection and hidden dangers. The protagonist, Maureen, is introduced not through action but through a frontispiece showing her listening intently to a lark, suggesting a connection to nature and a capacity for deep feeling.
This tension between beauty and trouble recurs throughout the excerpts. Maureen's voice shifts from sweetness to a chilling declaration: 'I hate—I hate—I hate!' after a shock. The Rector, her uncle, prays for the 'evil spirit' to leave her, framing her struggle in moral terms. The narrative voice is direct, often using exclamation marks and short sentences to convey emotional intensity.
Landscape as Emotional Mirror
The Irish setting is not mere backdrop but an active participant in the story. The Rectory's 'great fruit garden' is kept locked, the Rector being 'most particular with regard to his fruit'—a detail that echoes the guardedness of the characters. The lawn is 'studded over with flower-beds filled mostly with roses,' and below it lies an apiary. These elements suggest a world of beauty that requires careful management, much like Maureen's volatile emotions.
When Maureen is 'icy-cold by her window' after her outburst, the natural world is absent; she is cut off from the lark and the roses. The Rector gives her a 'soothing draught' to make her sleep, a medicinal intervention that contrasts with the earlier natural harmony. Later, the journey to England takes them to Lutterworth, a town 'on a slope' with 'the freshest of all fresh air'—but the girls experience seasickness and coldness. The shift from Ireland's lush warmth to England's 'cold' air mirrors the emotional dislocation of the step-daughters, who are sent to a school run by 'Jane Faithful,' a name that promises reliability but may deliver discipline.
The Weight of Words: Hatred and Forgiveness
Maureen's repeated cry 'I hate' is the emotional core of the excerpts. The Rector responds not with punishment but with prayer, holding her hand 'all that long time' while she sleeps. This scene is framed as a spiritual battle: 'Satan got into me,' Maureen says, and the Rector prays that 'the evil spirit might leave the sweetest nature in the world.' The language is explicitly religious, but the conflict is psychological—a child overwhelmed by a 'frightful shock.'
In contrast, the step-daughters Henrietta and Daisy are more calculating. Daisy screams and shrieks, while Henny-penny 'dashed cold water on her head' and plans to 'run away.' Their mother hated England, and they 'could not be expected to love' it. The Rector's response to them is brisk: he locks them in a room and goes to Maureen. The novel thus sets up a contrast between Maureen's raw, confessed hatred and the step-daughters' rebellious scheming, suggesting that the path to forgiveness requires acknowledging one's darkness.
Structure and Voice: Abrupt Shifts and Moral Framing
The excerpts reveal a narrative that moves quickly between intense interior moments and practical actions. Chapter titles like 'The Power of Hatred' and 'The Love That Passeth Knowledge' signal a moral framework, while others such as 'Periwinkles' and 'Fuzzy-Wuzzy' introduce whimsy. The voice is often exclamatory: 'Come, Daisy—no screaming, please. Come at once.' The Rector 'hardly touched the little cold hand' but the girl follows 'as meek as a mouse.' These contrasts in tone—from sharp command to soft prayer—create a rhythm of tension and release.
The illustrations, described in captions, reinforce key moments: Maureen 'stretched out her arms and sang in her glorious voice,' and later 'Stoop close to me.... You are Maureen and I love you.' These visual cues suggest that music and affection are central to her redemption. The narrative does not shy away from extremes: Maureen is 'too wicked, wicked,' yet the Rector calls her 'the sweetest nature in the world.' This duality is the engine of the story, as the reader watches a child oscillate between fury and grace.
Readers should attend to the way Meade uses Irish and English settings to embody moral states: Ireland is lush but troubled, England is orderly but cold. The step-daughters' subplot offers a counterpoint to Maureen's journey, and the Rector's role as both guardian and spiritual guide is worth tracking. The novel's emotional pitch is high, with characters often speaking in exclamations or prayers; this intensity is deliberate, not melodramatic. Look for how small details—a locked garden, a soothing draught, a song—accumulate into a pattern of healing.
That rainy afternoon, Maureen’s fury felt so familiar—that hot, righteous ache of betrayal—while her uncle’s quiet patience lingered like damp hedgerows. I closed the book, restless, and found myself reaching for something lighter on my shelf: Girls in Bookland — A Reader’s Guide. It wasn’t a plan. I just wanted to sit with other girls and their pages a while longer.
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