Frivolous Cupid — A Reader’s Guide
Edition facts
This digital edition of Frivolous Cupid — A Reader’s Guide is described by source-level measurements including 33,879 words, 2 hr 28 min estimated reading time, and 5 detected text sections.
The text analysis averages about 15.5 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 “Man-woman relationships -- Fiction,” connecting these edition facts with the source record’s subject description.
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- Title & short description10 pts
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- Text length15 pts
- Chapters / structure15 pts
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She was a favorite of old Sterling's, and he was proud to present his handsome son to her. She listened graciously to his jocosities, stealing a glance at Harry when his father called him "a good boy." Harry blushed and assumed an air of indifference, tossing his hair back from his smooth forehead, and swinging his racket carelessly in his hand. The lady addressed some words of patronizing kindness to him, seeking to put him at his ease. She seemed to succeed to some extent, for he let his father and her husband go off together, and sat down by her on the bench, regardless of the fact that the Vicarage girls were waiting for him to make a fourth.
He said nothing, and Mrs. Mortimer looked at him from under her long lashes; in so doing she discovered that he was looking at her.
"Aren't you going to play any more, Mr. Sterling?" she asked.
"Why aren't you playing?" he rejoined.
"My husband says I play too badly."
"Oh, play with me! We shall make a good pair."
"Then you must be very good."
"Well, no one can play a hang here, you know. Besides I'm sure you're all right, really."
"You forget my weight of years."
He opened his blue eyes a little, and laughed. He was, in fact, astonished to find that she was quite a young woman. Remembering old Mortimer and the babies, he had thought of her as full middle-aged. But she was not; nor had she that likeness to a suet pudding, which his newborn critical faculty cruelly detected in his old friends, the Vicarage girls.
There was one of them--Maudie--with whom he had flirted in his holidays; he wondered at that, especially when a relentless memory told him that Mrs. Mortimer must have been at the parties where the thing went on. He felt very much older, so much older that Mrs. Mortimer became at once a contemporary. Why, then, should she begin, as she now did, to talk to him, in quasi maternal fashion, about his prospects? Men don't have prospects, or, anyhow, are spared questionings thereon.
Either from impatience of this topic, or because, after all, tennis was not to be neglected, he left her, and she sat alone for a little while, watching him play. She was glad that she had not played; she could not have rivaled the activity of the Vicarage girls. She got up and joined Mrs. Sterling, who was presiding over the club teapot. The good lady expected compliments on her son, but for some reason Mrs. Mortimer gave her none. Very soon, indeed, she took Johnnie away with her, leaving her husband to follow at his leisure.
In comparing Maudie Sinclair to a suet pudding, Harry had looked at the dark side of the matter.
The suggestion, though indisputable, was only occasionally obtrusive, and as a rule hushed almost to silence by the pleasant good nature which redeemed shapeless features. Mrs. Mortimer had always liked Maudie, who ran in and out of her house continually, and had made of herself a vice-mother to the little children.
The very next day she came, and, in the intervals of playing cricket with Johnnie, took occasion to inform Mrs. Mortimer that in her opinion Harry Sterling was by no means improved by his new status and dignity. She went so far as to use the term "stuck-up." "He didn't use to be like that," she said, shaking her head; "he used to be very jolly." Mrs. Mortimer was relieved to note an entire absence of romance either in the regretted past or the condemned present. Maudie mourned a friend spoiled, not an admirer lost; the tone of her criticisms left no doubt of it, and Mrs. Mortimer, with a laugh, announced her intention of asking the Sterlings to dinner and having Maudie to meet them. "You will be able to make it up then," said she.
"Why, I see him every day at the tennis club," cried Maudie in surprise.
The faintest of blushes tinged Mrs. Mortimer's cheek as she chid herself for forgetting this obvious fact.
The situation now developed rapidly. The absurd thing happened: Harry Sterling began to take a serious view of his attachment to Mrs. Mortimer. The one thing more absurd, that she should take a serious view of it, had not happened yet, and, indeed, would never happen; so she told herself with a nervous little laugh. Harry gave her no opportunity of saying so to him, for you cannot reprove glances or discourage pressings of your hand in fashion so blunt.
Anthony Hope's Frivolous Cupid opens with Harry Sterling's return to Natterley, a transition from schoolboy to Oxford man marked by a cigarette and a newly acquiescent father. The lawn-tennis club serves as a stage where social hierarchies shift: Harry's old playmates greet him as an equal, while girls treat him as a stranger. Mrs. Mortimer, at twenty-eight, observes this transformation with amusement, noting the gulf between her husband's forty-four years and her own perspective. The excerpts present a world of carefully calibrated interactions, where a blush, a racket swing, or a glance carries weight.
Social Currency and the Lawn-Tennis Club
The lawn-tennis club at Natterley is more than a setting; it is a marketplace of social currency. Harry Sterling's return is measured by his new status: he leaves Harrow "in the sweet aroma of a long score against Eton at Lord's," and this athletic achievement translates into adult recognition. The club's dynamics are revealed through small gestures—Harry's cigarette, his "air of indifference," and his choice to sit with Mrs. Mortimer instead of playing with the Vicarage girls. These details show how reputation is built and negotiated in public view.
Mrs. Mortimer's role as a spectator and participant underscores the importance of observation. She "stole a glance" at Harry, and her "patronizing kindness" is a performance of her own social position. The club becomes a microcosm where every action is noted and interpreted, from Harry's "smooth forehead" to his "carelessly" swinging racket. Hope's prose lingers on these visual cues, making the reader complicit in the social reading.
The Curate's Courtship and the Widow's Sympathy
The second excerpt introduces a more complex romantic tangle involving Miss Trix, Lord Newhaven, and the curate Mr. Ives. Trix's behavior oscillates between encouragement and disdain: she allows Mr. Ives to amuse her, then treats him with "freezing civility" after her mother's intervention. The narrator's aside—"I do not wish to be uncharitable—least of all to a charming young lady"—reveals a knowing, slightly ironic tone that pervades the story.
The arrival of Mrs. Wentworth, a widow with a "comfortable competence" and a gift for sympathy, shifts the dynamics. She sympathizes with everyone in turn, but her focus on "poor Mr. Ives" and his "unfortunate attachment" suggests a strategic kindness. The narrator notes that she "had a remarkable power of sympathy," and her ability to engage Mr. Ives in conversation while others play tennis hints at a new romantic possibility. The curate's sudden appearance through the drawing-room window, seeking dinner, is a comic intrusion that disrupts the expected courtship pattern.
Narrative Voice and the Limits of Inference
The excerpts are narrated in a first-person plural voice—"We men, over our pipes, expressed the opinion"—that creates a sense of shared observation among a group of male characters. This collective narrator offers commentary on events, such as Algy Stanton's blunt assessment that Trix "had had her fun" and would now "settle down to business." The voice is conversational and slightly gossipy, but it also signals a limited perspective: the narrator does not claim to know the characters' inner thoughts, only their outward actions and likely motives.
Because the excerpts are incomplete, the reader cannot determine the outcome of these romantic maneuvers. The catalog subjects list "man-woman relationships" and "short stories," which are consistent with the episodic, character-driven scenes. However, the excerpts do not reveal whether Harry Sterling's flirtation with Mrs. Mortimer develops, or whether Mr. Ives finds solace with Mrs. Wentworth. The narrative voice invites speculation but withholds resolution, leaving the reader to observe the social game without knowing its final score.
These excerpts from Frivolous Cupid reward attention to social nuance and narrative tone. The lawn-tennis club, the curate's dinner invitation, and the widow's arrival all serve as catalysts for romantic possibility, but the story's outcome remains uncertain. Readers should attend to the narrator's wry asides and the characters' unspoken calculations, as these details reveal the subtle power struggles beneath polite conversation. The work is best approached as a series of interconnected vignettes, each offering a glimpse into a world where love and ambition are played out in public view.
There’s something tender about how neatly Frivolous Cupid tucks its gossip and tennis into such small, aching moments—a glance, a half-said thing. It reminded me of another quiet companion, The Diary of a Goose Girl — Themes and Context, where the ordinary day holds the same dear weight. I miss that unhurried kind of noticing.
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