The Brother of Daphne — Reading Companion

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Yates, Dornford, 1885-1960 Project Gutenberg 1996 Not confirmed
Humorous stories; England -- Fiction Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 78,462
Reading time 342 min
Text sections 9

Before opening The Brother of Daphne — Reading Companion, the edition data offers a quick orientation: 78,462 words, 5 hr 42 min estimated reading time, and 9 detected text sections.

The text analysis averages about 10.2 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 “Humorous stories,” connecting these edition facts with the source record’s subject description.

A brother's witty banter with his sister Daphne leads to reluctant participation in a village fete, where a bee-sting encounter with a young woman named Berry introduces playful romance and verbal sparring in Edwardian England.
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Read the Text

Berry began to recite 'We are Seven.'

Thursday morning broke cloudless and brilliant. I saw it break. Reluctantly, of course; I am not in the habit of rising at cock-crow. But on this occasion I rose because I could not sleep. When I went to bed on Wednesday night, I lay awake thinking deeply about what I was to do on the morrow. Daphne had proved inexorable. My brain, usually so fertile, had become barren, and for my three days' contemplation of the subject I had absolutely nothing to show. It was past midnight before I fell into a fitful slumber, only to be aroused three hours and a half later by the sudden burst of iniquity with which two or more cats saw fit to shake the silence of the rose-garden.

As I threw out the boot-jack, I noticed the dawn. And as further sleep seemed out of the question, I decided to dress and go out into the woods.

When I slipped out of Knight's Bottom into the sunlit road to find myself face to face with a Punch and Judy show, I was not far from being momentarily disconcerted. For a second it occurred to me that I might be dreaming, but, though I listened carefully, I could hear no cats, so I sat down on the bank by the side of the road and prepared to contemplate the phenomenon.

When I say 'Punch and Judy show' I am wrong. Although what I saw suggested the proximity of a Punch and a Judy, to say nothing of the likelihood of a show, I did not, as a matter of fact, descry any one of the three. The object that presented itself to my view was the tall, rectangular booth, gaudy and wide-mouthed, with which, until a few years ago, the streets of London were so familiar. Were! Dear old Punch and Judy, how quickly you are becoming a thing of the past! How soon you will have gone the way of Jack-i'-the Green, Pepper's Ghost, the Maypole, and many another old friend! Out of the light into the darkness. The old order changeth, yielding place to new, and in a little space men shall be content to wonder at your ancient memory as their grandfathers marvelled at that of the frolics of my Lord of Misrule. However.

There was the booth. But that was all. It stood quite alone at the side of the white road. I walked round it. Nothing. I glanced up and down the road, but there was no one in sight. I had been feeling hungry, for it was seven o'clock; but this was better than breakfast, and I returned to the bank. The little red curtains fluttered, as a passing breeze caught them, and I marked how bright and new they looked. It was certainly in good condition--this booth.

"Well?" said a voice.

A pause. A girl's voice it was: coming from within the booth.

"You seem rather surprised," said the voice.

"No, no," I said, "not really surprised. Only a little staggered. You see, I know so few booths."

"What are you doing here?"

"To be frank, booth, I'm waiting."

"So?" said I. "I wait, you wait, let us wait, ye shall have been about to see, they would--"

"What are you waiting for?"

"Developments. And you?"

I looked up and down the road. "I don't see it coming," I said anxiously. "What's it look like?"

"Milk. You don't happen to have any, I suppose?"

I felt in my pockets.

"There, now," I said, "I must have left it on the piano. I got up rather hurriedly this morning," I added apologetically.

"I'll tell you what, booth, I'll go and get some."

"No, thanks very much. Don't you bother; it'll come along presently."

"Are you sure? This isn't 'The Blue Bird.'"

"Yes, it's all right--really."

There was another pause. Then:

"Hadn't you better be getting back to breakfast?" said the girl.

"Not much," said I. "I don't run up against booths every day. Besides--"

"Well, booth, I'm awfully curious."

"What do you want to know?"

"I didn't say I'd tell you."

"I'll risk that. In a word, why are you?"

I waited in silence for a few moments. At length:

"Suppose," she said slowly, "suppose a bet had been made."

"Well? Isn't that enough?"

"I don't think much of your imagination."

I raised my eyes to heaven. "A prophet is not without honour," I quoted.

"Is this your own country?"

"Oh, I say, you'd be the very man!"

"I am," I said. "Refuse substitutes."

The novel opens with a sharp exchange between the narrator and his sister Daphne, who has volunteered him for a charity fete without his consent. Their dialogue, laced with mock indignation and legal jargon—"obtain money by false pretences"—establishes a tone of playful antagonism. The narrator's resistance crumbles under Daphne's persistence, setting the stage for a comedy of manners where domestic skirmishes mirror larger social performances.

Verbal Jousting as Social Currency

The narrator's repartee with Daphne reveals a household where wit is both weapon and bond. When Daphne declares her word is her bond, he retorts, "Your bond? Quite so. But not mine." This refusal to be bound by her promises underscores a dynamic of affectionate defiance. Later, his description of the fete as a scheme to "obtain money by false pretences" for a mission named "the Banana" turns philanthropy into farce. The dialogue is dense with wordplay: "It boils not, neither does it sing" parodies biblical phrasing to describe a kettle. Such exchanges suggest that in this world, verbal agility is a marker of class and character, and every conversation is a performance.

The Bee-Sting Encounter: A Study in Restraint

When the narrator flees a swarm of bees and meets Berry, the tone shifts from domestic sparring to tentative romance. His explanation—"I'm a beer. At least I was one"—sparks a chain of puns that she meets with bemusement. Her offer to remove the sting with a gold safety-pin is both practical and intimate, yet the narrator deflects with mock alarm: "Police. Assault and wounding stalk in your midst." The scene balances physical comedy (the sting, the chase) with understated attraction. Berry's "glad smile" and his observation of "one grey eye and half the red mouth" hint at a connection that neither fully acknowledges. The narrator's nervousness as they pass his house—"a solitary bee sang by us and startled me"—suggests that the real danger is not the insects but the proximity of genuine feeling.

Setting as a Stage for Comedy

The action unfolds in a landscape of country houses and village fetes, but the narrator treats these settings as props for his irony. White Ladies, his home, is described in the deadpan cadence of an estate agent: "Large, grey, creepered residence, four reception, two bed, six bath, commands extensive views, ten minutes from workhouse." This deflation of pastoral ideal continues with the garden table—"That parody emanated from a bazaar"—which he dismisses as having "silly sides" and "crazy legs." Even nature is unreliable: the bees are "impious" and "dead to all sense of right and wrong." The narrator's world is one where every object and event is ripe for mockery, yet the underlying structure of social obligation—fetés, tea trays, family duty—remains firmly in place.

Readers should attend to the rhythm of the dialogue, where interruptions and non sequiturs carry as much weight as the main thread. The narrator's voice is consistent in its irony, but watch for moments when the mask slips—a direct glance, a quiet admission—that reveal the man beneath the wit. The excerpts offer no resolution to the fete or the romance, leaving the reader to anticipate how these threads will tangle.

Funny how the brother and Berry’s sharp, sunlit banter lingered with me, but when I closed The Brother of Daphne, I thought instead of that quieter, salt-tinged ache in Lady Baltimore — Reading Notes. Both unfold slowly, like letters. Only one ends with a bee-sting, the other with a held breath.

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