The Wanderer; or, Female Difficulties (Volume 5 of 5) — Inside the Classic
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The Wanderer; or, Female Difficulties (Volume 5 of 5) — Inside the Classic can be approached with a clearer sense of reading commitment from its source measurements: 65,756 words, 4 hr 46 min estimated reading time, and 7 detected text sections.
The text analysis averages about 24.2 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 “Historical fiction,” connecting these edition facts with the source record’s subject description.
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Read the Text
They had all, the dame said, been hard at work, to cover some goods under ground, the very night of Juliet's arrival: and they had put what was for immediate sale into hods, spread over with potatoes, to convey to different places. When Juliet had tapped at the door, the dame had concluded it to be her husband, returned for something that had been forgotten; but the sight of a stranger, she said, though it were but a woman, made her think that they were all undone; for the changed dress of Juliet impeded any recollection of her, till she spoke.
In the communication to which this discourse gave rise, Juliet, with surprize, and even with consternation, learnt, how pernicious were the ravages of dishonest cupidity; how subversive alike of fair prosperity, and genial happiness, even in the bosom of retired and beautiful rusticity. For those who were employed in poaching, purloining wood, or concealing illicit merchandize by night, were as incapable of the arts and vigour of industry by day, as they were torpid to the charms and animation of the surrounding beauties of nature. Their severest labour received no pay, but from fearful, accidental, and perilous dexterity; their best success was blighted by constant apprehension of detection. Reproachful with each other, suspicious of their neighbours, and gloomy in themselves, they were still greater strangers to civilized manners than to social morality.
In the midst, however, of the dejection excited by such a view of human frailty, Juliet, whose heart always panted to love, and prided in esteeming her fellow-creatures, had the consolation to gather, that the houses which contained these unworthy members of the community were few, in comparison with those which were inhabited by persons of unsullied probity; that several of the cottagers were even exemplary for assiduous laboriousness and good conduct; and that many of the farmers and their families were universally respected.
When Dame Fairfield was nearly ready, Juliet, to forward the march, set out with the two children; but had scarcely quitted the house, when the sight of a man, advancing towards the habitation, made her plant herself behind a tree, to examine him before she ventured to proceed.
She observed that he stopt, every two or three minutes, himself, to take an inquisitive view all around him; frequently bending upon the ground, and appearing to be upon some eager search.
As he approached, she thought that his air was familiar to her; she regarded him more earnestly as he drew nearer; what, then, was her horrour to recognize the pilot!
She glided back, instantaneously, to the house, beckoning to the children to follow; and, rushing upon Dame Fairfield, and, taking both her hands, she faintly ejaculated, 'Oh my good dame!--hide, conceal me, I entreat!--I am pursued by a cruel enemy, and lost if you are not my friend!--Serve, save me, now, and I will be yours to the end of my life!'
'That I wull!' answered the dame, delighted; 'if you wull but be so koind as to save my poor husband the sheame of being honged or transported, I wull go through fire and water to serve you, to the longest day I have to live upon the feace of God's yearth!'
Then, making the children play without doors, that they might not observe what passed, she told Juliet to bolt herself into the upper chamber.
In a few minutes, the children, running into the house, called out, 'Mam, mam, yonder be dad!'
The dame went forth to meet him; and Juliet spent nearly half an hour in the most cruel suspense.
Dame Fairfield then came to her; and, by the discourse that ensued, she found that the pilot was one of the smugglers who brought merchandize to Mixon; and heard that he and Fairfield had thus unexpectedly returned, in search of a piece of fine broad French lace, of great value, which was missing; and which Fairfield suspected to have dropt from one of his parcels, while he was making his assortments, by the light of the lanthorn. She had been, she said, helping them to look for it, high and low; but had stolen away, for an instant, to bring this account; and to beg Juliet not to be frightened, because though, if Fairfield would go up stairs, she could not hinder him, she would take care that the smuggler should not follow.
Juliet was now seized with a panic that nearly bereft her of all hope; and Dame Fairfield was so much touched by the sight of her sufferings, that she descended, unbidden, to endeavour to discover some means to facilitate an escape.
The final volume of Fanny Burney's The Wanderer; or, Female Difficulties opens with a philosophical meditation on trust as the basis of social comfort, immediately establishing a tone of moral inquiry. The narrator asserts that confidence is an axiom requiring no proof, a claim that frames Juliet's subsequent experiences. In the rustic abode, Juliet feels a security more potent than any formal engagement, yet the narrative quickly introduces a night-scene that hangs upon her with perplexity. This juxtaposition of security and mystery sets up a central tension: the reader, like Juliet, must navigate between apparent safety and hidden dangers.
The Opening Axiom and Its Immediate Test
The volume begins with a general statement about human trust, then immediately applies it to Juliet's situation. The narrator's voice is authoritative, using phrases like 'straight forward and intuitively' to align the reader with a moral framework. However, the night-scene—with its 'lumpish sound' and 'clot of blood'—disrupts this security. The dame's reaction, blessing herself and linking the event to the devil, introduces a folkloric element. The excerpt shows Burney using domestic details to create suspense: the children asleep, the needlework, the careful timing of Juliet's narrative. This opening teaches the reader to attend to small, seemingly incidental details that carry weight.
Elinor's Voice and the Weight of Self-Accusation
In the middle excerpt, Elinor's speech dominates. Her language is intense and self-lacerating: 'I am my own executioner,' 'my distracting impatience,' 'with my own precipitate hand, I have dug the gulph.' The passage reveals her character through her own words, not through authorial summary. She oscillates between despair and defiance, telling Juliet to 'marry him at once' while also claiming she struggles not to wish her ill. This section demonstrates Burney's skill in rendering psychological complexity through dialogue. The reader must weigh Elinor's accusations against Juliet's silent dignity. The excerpt ends with Elinor's dramatic exit, ordering her groom to 'drive to the end of the world,' a line that underscores her theatrical nature.
Juliet's Recollection and the Limits of the Excerpts
The later excerpt shows Juliet recovering her property and noting that her recollection was gone. This moment of lost memory is significant, as it hints at trauma or stress, but the excerpts do not reveal what caused the lapse. The narrative here becomes more elliptical, leaving gaps for the reader to fill. The focus shifts to Juliet's internal state, but the text does not provide full context. This is a point where the reader must acknowledge the limits of the excerpts: the full volume may clarify whether this forgetfulness is a plot device or a character trait. For now, it serves as a reminder that the narrative withholds as much as it reveals.
Structural Patterns and the Reader's Role
Across the excerpts, a pattern emerges: each section begins with a general reflection or a moment of calm, then introduces a disruptive event or speech. The opening axiom is followed by the night-scene; Juliet's peaceful sewing is interrupted by Elinor's outburst; the recovery of property is undercut by the mention of lost recollection. This rhythm of security and disruption guides the reader to expect hidden tensions beneath surface tranquility. Burney also uses contrasting voices—the dame's dialect, Elinor's passionate rhetoric, Juliet's restrained narration—to create a polyphonic texture. The reader must navigate these different registers to piece together the story.
These excerpts suggest that The Wanderer rewards attention to narrative structure and character voice. The volume does not provide easy resolutions; instead, it leaves questions about memory, motive, and outcome open. Readers should note how Burney uses the contrast between stated principles and actual events to create moral complexity. The final volume appears to be a study in how characters confront their own limitations, with Juliet's perspective serving as a steady, if incomplete, anchor.
I finished Burney’s last volume feeling like I’d walked beside Juliet through every quiet dread and small courage. There’s a particular ache in watching someone forced to hide who they are. That same ache stayed with me after Tuen, Slave and Empress — Text and Context, where survival wears a different mask. Both linger, not as stories told, but as lives half-remembered.
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