The Wanderer; or, Female Difficulties (Volume 2 of 5) — Themes and Context

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Burney, Fanny, 1752-1840 Project Gutenberg 2011 Not confirmed
Historical fiction; War stories; Refugees -- Fiction; France -- History -- Revolution, 1789-1799 -- Refugees -- Fiction Readers of public-domain and historical texts
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Words 74,923
Reading time 326 min
Text sections 7

The source record for The Wanderer; or, Female Difficulties (Volume 2 of 5) — Themes and Context measures this digital text at 74,923 words, 5 hr 26 min estimated reading time, and 7 detected text sections.

The text analysis averages about 25.9 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 “Historical fiction,” connecting these edition facts with the source record’s subject description.

Fanny Burney's second volume of 'The Wanderer' traces Ellis's internal conflict between honour and safety through dense psychological prose, comic digressions, and a letter that exposes rivalrous female perspectives on love and rejection.
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Ellis was forced to stand: and even Ireton, though he did not move, kept not his place from any intentional disrespect; for he would have thought himself completely old-fashioned, had he put himself out of his way, though for a person of the highest distinction.

'How comes it, Mistress Ellis,' said Mrs Maple, 'that you had a message for me last night, from my niece, and that you never delivered it?'

Ellis, confounded, tried vainly to offer some apology.

Mrs Maple rose still more peremptorily in her demands, mingling the haughtiest menaces with the most imperious interrogations; attacking her as an accomplice in the clandestine scheme of Elinor; and accusing her of favouring disobedience and disorder, for some sinister purposes of her own.

Ireton scrupled not to speak in her favour; and Selina eagerly echoed all that he advanced: but, Harleigh, though trembling with indignant impatience to defend her, feared, in the present state of things, that to become her advocate might rather injure than support her; and constrained himself to be silent.

A succession of categorical enquiries, forced, at length, an avowal from Ellis, that her commission had been given to her in a letter. Mrs Maple, then, in the most authoritative manner, insisted upon reading it immediately.

Against the justice of this desire there was no appeal; yet how comply with it? The secret of Harleigh, with regard to herself, was included in that of Elinor; and honour and delicacy exacted the most rigid silence from her for both. Yet the difficulty of the refusal increased, from the increased urgency, even to fury, of Mrs Maple; till, shamed and persecuted beyond all power of resistance, she resolved upon committing the letter to the hands of Harleigh himself; who, to an interest like her own in its concealment, superadded courage and consequence for sustaining the refusal.

This, inevitably, must break into her design of avoiding him; but, hurried and harassed, she could devise no other expedient, to escape from an appearance of utter culpability to the whole house. When again, therefore, Mrs Maple, repeated, 'Will you please to let me see my niece's letter, or not?' She answered that there was a passage in it upon which Miss Joddrel had desired that Mr Harleigh might be consulted.

It would be difficult to say, whether this reference caused greater surprise to Mrs Maple or to Harleigh; but the feelings which accompanied it were as dissimilar as their characters: Mrs Maple was highly offended, that there should be any competition, between herself and any other, relative to a communication that came from her niece; while Harleigh felt an enchantment that glowed through every vein, in the prospect of some confidence. But when Mrs Maple found that all resistance was vain, and that through this channel only she could procure any information, her resentment gave way to her eagerness for hearing it, and she told Mr Harleigh to take the letter.

This was as little what he wished, as what Ellis meant: his desire was to speak with her upon the important subject open between them; and her's, was to make an apology for shewing him the letter, and to offer some explanation of a part of its contents. He approached her, however, to receive it, and she could not hold it back.

'If you will allow me,' said he, in taking it, 'to give you my plain opinion, when I have read it.... Where may I have the pleasure of seeing you?'

Revived by this question, she eagerly answered, 'Wherever Mrs Maple will permit.'

Harleigh, who, in the scowl upon Mrs Maple's face, read a direction that they should remain where they were, would not wait for her to give it utterance; but, taking the hand of Ellis, with a precipitation to which she yielded from surprise, though with blushing shame, said, 'In this next room we shall be nearest to give the answer to Mrs Maple;' and led her to the adjoining apartment.

Volume II of Fanny Burney's The Wanderer; or, Female Difficulties opens with Ellis in a state of acute moral distress. Having delivered a commission to Harleigh, she retreats to her chamber to 'commune with her own heart'—a phrase that signals Burney's sustained interest in the heroine's interior life. The narrative voice shifts between Ellis's anguished self-examination and the comic, rambling speech of a secondary character who recounts a series of mishaps involving a burned cane and a slapped cheek. This juxtaposition of high emotional stakes with farcical anecdote is a deliberate structural choice, one that tests the reader's patience even as it illuminates the social absurdities surrounding Ellis's predicament.

Conscience as Unerring Guide

Burney gives Ellis a moment of explicit moral reasoning: 'What strikes me to be right, I must do; I may then have some chance for peace, ... however little for happiness!' The ellipsis enacts a pause, a hesitation between principle and desire. The passage is notable for its abstract diction—'conscience, that unerring guide, where consulted with sincerity'—which aligns Ellis with a tradition of sentimental heroines who weigh duty against feeling. Yet Burney undercuts this solemnity by having Ellis immediately descend to manage Elinor's expectations, suggesting that moral clarity is quickly entangled with practical dissimulation.

The Letter as Weapon and Confession

Elinor's letter, found folded in Ellis's needlework, is a concentrated burst of melodramatic rhetoric. She declares herself 'despoiled of the only scheme in which I ever gloried, that of sacrificing in death, to the man whom I adore, the existence I vainly wished to devote to him in life.' The repetition of 'despoiled' and the antithesis between death and life reveal a character who performs her suffering in elaborate, almost theatrical terms. Burney uses the letter to give voice to a rival perspective: Elinor cannot comprehend Ellis's refusal of Harleigh, and her incredulity is rendered through exclamatory dashes and rhetorical questions. The device allows the reader to see Ellis through hostile eyes without abandoning her point of view.

Comic Digression and Social Awkwardness

A lengthy anecdote from a male visitor dominates one of the excerpts. He recounts burning a gentleman's cane by poking it into the grate, slapping a lady's face while trying to kill a gnat, and forgetting a cousin's ball commission because he met an old friend. The speech is marked by repetitive apologies ('I was never so out of countenance in my life'), rambling syntax, and a self-deprecating tone that borders on the absurd. Burney uses this digression to contrast with Ellis's urgent desire to 'know his business.' The visitor's inability to stay on topic becomes a comic obstacle, and his narrative style—full of 'prodigious' and 'I remember, once'—mimics oral storytelling. This passage tests the reader's patience as much as Ellis's, and it suggests that Burney is willing to sacrifice narrative momentum for character comedy.

Setting and the Architecture of Secrecy

Burney pays careful attention to physical spaces as markers of social and emotional states. Ellis goes 'straight to her own chamber' to meditate; she finds Elinor's dressing-room door locked; she waits 'most uneasily, in the landing-place' until Harleigh's footstep forces her away. These details—locked doors, thresholds, chambers—create a geography of concealment and evasion. The needlework in which the letter is hidden is itself a domestic object that becomes a vehicle for secret communication. Burney's descriptions of movement through the house (ascending, tapping, re-entering) give the reader a spatial sense of Ellis's constrained agency: she is always retreating or being displaced.

Readers approaching this volume should attend to the way Burney layers voices—Ellis's internal monologue, Elinor's epistolary outburst, the visitor's rambling tales—without privileging any single one. The effect is a polyphonic portrait of social life in which female difficulty is both dramatized and, at times, comically deflected. The excerpts offer no resolution, only a series of tense encounters and deferred explanations.

I finished Volume Two of The Wanderer late last night, thinking about how Ellis’s private turmoil rarely matches the world’s judgment. That quiet ache recalled another voice, another place—Lucca’s political storms in Valperga Volume 1 (of 3) or, The life and adventures of Castruccio, prince of Lucca — Themes and Context—where longing and ambition also tangle, unresolved and deeply human.

Daniel White
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Samuel Garcia
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Scarlett Allen
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Camila White
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Grace Miller
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