Lucius Davoren; or, Publicans and sinners, vol. 3 — Edition Insights
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The source record for Lucius Davoren; or, Publicans and sinners, vol. 3 — Edition Insights measures this digital text at 74,403 words, 5 hr 24 min estimated reading time, and 23 detected text sections.
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HOW GEOFFREY ENJOYED THE GARDEN-PARTY.
While Lucius Davoren was thus occupied at the east end of London, Geoffrey Hossack was making the best of an existence which he had made up his mind to consider utterly joyless, so long as adverse fate denied him the one desire of his heart. For him in vain warm August skies were deeply blue, and the bosky dells and glades of the New Forest still untouched by autumn’s splendid decay. For him vainly ran the bright river between banks perfumed with wild flowers. He beheld these things from the lofty standpoint of discontent, and in his heart called Nature a poor creature.
‘I would rather be mewed up in Whitecross-street prison, or in the Venetian Piombi, with Janet for my wife, than enjoy all that earth can give of natural beauty or artificial splendour without her,’ he said to himself, when his cousins had bored him into a misanthropical mood by their insistence upon the charms of rural life, as exemplified at Hillersdon Grange.
‘I’m afraid you have no soul for Nature,’ said Belle, when she had kept Geoffrey on his feet for an hour in the cramped old-fashioned hot-houses, where she went in desperately for ferns and orchids, and imitated Lady Baker on a small scale.
‘I’m afraid not—for Nature in flower-pots,’ answered Geoffrey, with an unsympathetic yawn. ‘I daresay these Calopogons, and Gymnadenia, and what’s-its-names are very grand, but I’ve seen finer growing wild in the valleys on the southern side of the Rocky Mountains. You English people only get nature in miniature—a poor etiolated creature. You have no notion of the goddess Gea in her Titanic vigour, as she appears on “the other side.”
‘Meaning America?’ said Belle contemptuously, as if that western continent were something too vulgar for her serious consideration.
The sun shone upon Lady Baker’s fête as gaily as if fine weather had been a matter within her ladyship’s power of provision, like the luncheon from Gunter’s, or the costumes for the tableaux vivants. The lady herself was radiant as the sunlight. Everybody had come—everybody worth receiving, at any rate. She gave Geoffrey a smile of particular cordiality as she shook hands with him, and murmured the conventional ‘How good of you to come early!’
Belle and Jessie were speedily told off for croquet: a sport for which Geoffrey professed an unmitigated dislike, in a most churlish spirit, his cousins thought. Thus released from attendance on these fair ones, he roamed the vast gardens at large, finding solitudes in that spacious domain, even on such a day as this. In these secluded walks—where he only occasionally encountered a stray couple engaged in that sentimental converse which he slangily denominated ‘spooning’—Mr. Hossack indulged his own thoughts, which also were of a spooney character. Here, he thought, Janet Davoren had been happy in the brief summer-tide of her life; here she had felt the first joys and pains of an innocent girlish love; and here, alas, had given that peerless blossom of the soul, a girl’s first love, to a scoundrel. The thought of this filled him with a savage jealousy.
‘I wish I had fired that shot out yonder instead of Lucius,’ he said to himself. ‘Egad, I’d have made sure my ball went through him. There should have been no shilly-shally about my fire.’
Luncheon found Mr. Hossack more attentive to the various Rhine wines than to _pâté de foie gras_ or chicken-salad, or even the wants of the damsel who sat next him. He was out of humour with all the world. His artfully-worded advertisement had appeared several times, and had produced no response. He began to think the Fates were opposed to his happiness.
‘I suppose if a man is pretty well provided for in the way of three-per-cents he must hope for nothing else from Fortune,’ he thought, as he punished her ladyship’s cabinet hocks.
Luncheon over, Mr. Hossack conducted his damsel to the sunny greensward, where enthusiastic archers—seven-and-twenty ladies to five gentlemen—were stringing their Cupid bows for a grand match. Here he shunted her into the care of one of the five male archers, all of whom looked ineffably bored, and anon departed, whither he cared not—anywhere, anywhere out of this world of luncheons, croquet, flirtation, and frivolity.
The third volume of Lucius Davoren; or, Publicans and Sinners opens with a deliberate structural contrast: while Lucius Davoren is occupied at the east end of London, Geoffrey Hossack endures a garden party at Hillersdon Grange, his discontent sharpened by the New Forest's August beauty. The narrative moves between these two poles—Geoffrey's stifling social obligations and Lucius's investigative journey—before converging on a Rouen hotel, where a conversation with Monsieur Dolfe and his niece uncovers the name Dumarques and a history of slow, legal murder. The volume's architecture relies on such juxtapositions of setting and mood, using confined interiors (hot-houses, hotel rooms) as stages for revelation.
Geoffrey's Discontent and the New Forest
Geoffrey Hossack's experience at the garden party is framed by a rejection of nature itself. He tells his cousin Belle that English nature is 'a poor etiolated creature' compared to the 'Titanic vigour' of the Rocky Mountains, and he would rather be 'mewed up in Whitecross-street prison' with Janet than enjoy rural beauty without her. This speech not only establishes his character—restless, contemptuous, yearning—but also introduces a recurring pattern: characters measure their surroundings against an absent ideal. The New Forest, with its 'bosky dells and glades,' becomes a backdrop for psychological imprisonment, not liberation.
Lucius's Quest and the Rouen Hotel
Lucius's investigation shifts the novel's geography from English countryside to French interior. In a 'somewhat luxuriously furnished' room at a Rouen hotel, he confronts Monsieur Dolfe, who is 'slow and pompous,' and his enthusiastic niece. The scene is built on small, telling details: the 'unfinished bougies' consumed here, the 'bulky business-like volumes' on a shelf. Lucius states his motive plainly—'I may gain a father, or at least a father's name, for the girl I love'—and the name Dumarques triggers an emotional response in Dolfe, whose 'triple chin' quivers. The hotel becomes a site of delayed revelation, where past and present collide.
Monsieur Dolfe's Recollection of Lucille Valneau
Monsieur Dolfe's testimony is the volume's emotional core. He recalls Félicie Dumarques's mother, Lucille Valneau, as a childhood neighbour: 'No smile ever brightened her face after her marriage with that vile miser.' His description of her death—'an assassination that lasted months and years'—is delivered with visceral detail: he pushes back his skull-cap, rubs his bald head with a 'fat white hand.' The narrative here relies on a witness whose memory is both precise and partial, offering a version of events that Lucius must weigh. The repetition of the name 'Lucille' links the past to the present, creating a chain of names and fates.
Movement Between Scenes and Confined Spaces
The volume's structure depends on abrupt shifts: from Geoffrey's garden party to Lucius's east-end occupation, then to the Rouen hotel. Each setting is a confined space—a hot-house, a hotel room—where characters are trapped in social or emotional stasis. The narrative moves through these interiors like a series of locked rooms, each holding a clue or a confession. Even the natural world is miniaturized: Belle's 'cramped old-fashioned hot-houses' and Geoffrey's dismissal of English nature as 'miniature' reinforce a theme of diminishment. The reader, like Lucius, must piece together a story from fragments offered in these constrained, candlelit spaces.
Readers attentive to the volume's structure will note how Braddon uses setting as a psychological lever: the New Forest's beauty intensifies Geoffrey's misery; the hotel's luxury masks a history of suffering. The movement between these spaces is not merely scenic but thematic, each location forcing a different kind of revelation. As Lucius gathers testimony, the novel asks us to weigh the reliability of memory and the weight of a name.
There is something achingly quiet about a hotelier’s memory becoming a slow confession—how Lucius Davoren; or, Publicans and sinners, vol. 3 unfolds a legal murder within a Rouen interior while Geoffrey broods outside, restless. It reminded me of the first volume’s uneasy garden, where no one said quite what they meant. Perhaps the whole story lingers between rooms and what we overhear there. Lucius Davoren; or, Publicans and sinners, vol. 1 — Key Ideas to Explore feels like returning to that same half-lit hush.
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