Scissors — Story, Setting & Ideas
Edition facts
Scissors — Story, Setting & Ideas can be approached with a clearer sense of reading commitment from its source measurements: 106,198 words, 7 hr 42 min estimated reading time, and 10 detected text sections.
The text analysis averages about 14.3 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 “Bildungsromans,” 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
She had the choice of remaining in England, but she swept it aside unhesitatingly. Devoid of fear and devoted to her husband, she went with him from land to land. With them also went their young son, John Narcissus Dean. Narcissus! exclaimed everybody, hearing the name. "Yes, Narcissus," answered handsome Charles Dean solemnly, while the light of humour danced in his grey eyes; and then followed the story of that honeymoon in Naples, when Mary, after seeing the famous statue of "Narcissus listening to Echo," had pleaded with her young husband, assisted by a Jew curio shopkeeper, for a copy she coveted. "But I want a real Narcissus," whispered the young man, pressing her hand quietly, while the Jew dusted the expensive bronzes on his counter.
"You shall have one--if I can have this," she answered roguishly. He nearly kissed her in boyish ecstasy. "Done!" he cried--"and we'll call him 'Narcissus.'"
Charles Dean was not only a man who kept to his word, but also to his joke. The announcement of the birth of John Narcissus at the historic manor of "Fourways" filled old Sir Neville, the grandfather, with delight and protest; a boy--excellent, Narcissus--preposterous! But Charles was obstinate, Mary amused, and Sir Neville protested anew. It was like Charles--independent, obstinate Charles, who had always been so irrational. It might have been expected of a man who had thrown up a diplomatic career to breed horses, which he could not afford to breed, who had married penniless Mary Loughton, his land-agent's pretty daughter. Charles had always been the fool in contrast with Henry, his level-headed elder brother. Sir Neville did not protest long,--he died one month after the coming of the grandchild with the freak name; and although all babies seem to look alike, many ladies, calling on the young mother, vowed the child was a veritable Narcissus--so handsome, so bonnie, so--
The new baronet made one formal protest, but Henry knew well he could do nothing with his odd-minded brother; still, as uncle, head of the family, and sixth baronet, he felt he had some right to protest against "Narcissus," if not for himself, then for his own boys, who were cousins to this piece of Greek mythology. The young parents only laughed, and John Narcissus, as if seeing the joke, gurgled whenever he was shown the statue and told to grow up like it--not altogether of course, for the statue proved to be cracked over the left breast, where the dealer had carefully kept his thumb.
Sir Henry, annoyed, kept aloof. When he heard that Charles had ruined himself and lost "Fourways" in a mad scheme to sink a shaft, over-persuaded by a gang of company promoters, he declared he was in no way surprised, shrugged his shoulders, and waited to see what would happen now. The sale of "Fourways," its contents and its horses, must have been a hard blow for Charles, but he certainly gave no sign when he called to say "Goodbye," before taking a position as continental agent offered him by an old friend.
"And--the boy?" asked Sir Henry, unable to make himself pronounce the ridiculous name.
"He is going with us."
"What--all over the Continent!" cried the astounded baronet. "You can't take a boy there--why not send him to school?"
"He's too young--we want him--and I don't believe in preparatory schools."
"Crank!" exclaimed Sir Henry to her ladyship when his brother had gone.
Thus came John Narcissus Dean to be swinging his sturdy legs on a box aboard an Austrian-Lloyd steamer bound for Samsoon. He was a fine boy, well matured for his seven years, and already he had a manner of command which made a slave of his devoted nurse Anna, a big fresh-coloured country girl, one of the small group that had gathered, seven years before, at the foot of the staircase at "Fourways." Anna had never intended going to Asia Minor, which she looked upon with the same horror as she did the South Sea Islands. Her first excursion, to Amsterdam, had been taken with great daring. Only love of the child she nursed and the mistress she served, could have prevailed upon her to leave England, for as all the peasant class, she had a loathing of foreigners. But from Amsterdam to Berlin had not seemed so far, and then the change to Bordeaux was like coming half-way home, so she remained with the family, and, as the years went by, became more tightly bound by affection to her young charge. For, however much she admired her mistress, she never doubted for one moment that, without her, young John Narcissus could not live. She had nursed him from a baby, was familiar with all his complaints, and also his moods, which were peculiar and trying.
The novel opens with a cold spray and a wind that cuts through passengers on a steamer leaving the Bosphorus. Cecil Roberts immediately establishes a world of movement and unease: the English family heading inland to Amasia, the Austrian captain who shudders and draws his finger across his throat. The dialogue is brisk, the captain’s broken English contrasting with the stranger’s calm replies. Roberts uses the captain’s fear to foreshadow danger without stating it directly, and the description of the coast as a “long mountainous barricade” suggests both physical and psychological barriers. This is a novel that trusts its details to carry weight.
Diction of Discomfort and Distance
Roberts’s word choices in the opening pages create a persistent sense of chill and alienation. The spray is “cold,” the wind “cut through,” the gale blows from “the Russian Steppes.” The coast is glimpsed “through mists and clouds closing and parting.” These are not neutral descriptions; they build an atmosphere of exposure and uncertainty. The captain’s exclamation—“The Black Sea—ough!”—with its shudder, reinforces the idea that this is a place where language itself fails. Roberts avoids romanticizing the exotic; instead, he emphasizes the physical discomfort of travel and the strangeness of the landscape. The narrator’s tone is observational, almost clinical, yet the accumulation of sensory details—the surf-beaten shore, the mountainous barricade—gives the scene a palpable weight. This diction persists throughout the excerpts, grounding the reader in a world where even the promise of summer feels remote.
Dialogue as Character Revelation
The captain’s speech is a study in contrast: broken English, expressive gestures, and a superstitious dread that the Englishman, Charles Dean, meets with calm practicality. “I have business in Amasia,” Dean says, and the captain replies, “That is the illness of the English,—business.” The dialogue reveals not only the captain’s character—his fear, his longing for Vienna—but also the cultural gap between the pragmatic traveler and the local who knows the land’s dangers. Later, in the Vicarage scenes, dialogue shifts to a lighter, more ironic register. Miss Piggin tells John he has “sensitive nostrils and a perfect, but sensuous mouth.” John’s reply—“Not sensual?”—and her answer—“It might become that—yet”—show a flirtatious game played through words. Roberts uses dialogue to expose social maneuvering, self-awareness, and the gap between what characters say and what they feel.
Description of Domestic Spaces and Social Rituals
Roberts devotes careful attention to the routines and objects of domestic life, particularly in the Vicarage. Miss Piggin’s studio contains a gas ring for tea, an easel, and a chair where John sits until his neck aches. The description of the drawing sessions—how she “everlastingly” erased and redrew, how she studied his eyes and mouth—turns a simple artistic exercise into a prolonged, almost ritualistic encounter. The washing-up scene, with sleeves rolled up, is charged with unspoken desire: “she had hoped that he would fall fast asleep. She would just kiss his head.” Roberts does not state her feelings outright; instead, he shows them through small, precise actions—the thrill, the gratitude at being saved from foolishness. These domestic details anchor the novel’s emotional life, making the characters’ inner worlds tangible through their physical surroundings.
Narrative Voice and Ironic Distance
The narrator of Scissors maintains a cool, slightly amused tone that undercuts the characters’ earnestness. When Squilson becomes an artist and Slade drops him, the narrator notes dryly that Slade “gave away his works as wedding presents.” The description of Miss Piggin’s musical tastes—Bach, Scriabine—is followed by John’s limit at Debussy, with Stravinsky offering “a prospect of a new land where the animals were articulate.” The irony is gentle but persistent. The narrator also steps back to comment on Miss Piggin’s self-awareness: “she knew that fashion has given woman a good frame for an indifferent picture.” This narrative distance prevents the novel from becoming sentimental; it allows Roberts to present his characters with sympathy and detachment simultaneously. The voice is consistent, shaping the reader’s perception of events without moralizing.
Readers attentive to Roberts’s craft will notice how he builds character through small gestures and offhand remarks. The novel’s power lies not in dramatic plot turns but in the accumulation of telling details—a shudder, a rolled sleeve, a broken sentence. Approach Scissors as a study in the textures of youth and the spaces between what people say and what they mean.
Reading about Cecil Roberts’s layered narrative voice in Scissors, that wry observation of Miss Piggin’s self-regard, reminded me of something gentler and dafter. There’s a certain fondness for flawed characters that lingers there, much like the warmth I felt when I first met young Johnnie and his quiet mischief. I found myself smiling at that connection: Wee Johnnie Paterson, & other humorous sketches — Story, Setting & Ideas simply crossed my mind, and stayed there.
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