The Dawn of a To-morrow — A Closer Reading
Edition facts
The catalog record for The Dawn of a To-morrow — A Closer Reading provides practical reading context through 22,183 words, 1 hr 37 min estimated reading time, and 3 detected text sections.
The text analysis averages about 14.7 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 “England -- Fiction,” connecting these edition facts with the source record’s subject description.
Calculated from edition completeness, EPUB availability, text structure and catalogue metadata. Not a user rating.
How this score is calculated
- 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
Something had seemed to stand aside and watch his being and his thinking. Something which filled the universe had seemed to wait, and to have waited through all the eternal ages, to see what he--one man--would do. At times a great appalled wonder had swept over him at his realization that he had never known or thought of it before. It had been there always--through all the ages that had passed. And sometimes--once or twice--the thought had in some unspeakable, untranslatable way brought him a moment's calm.
But at other times he had said to himself--with a shivering soul cowering within him--that this was only part of it all and was a beginning, perhaps, of religious monomania.
During the last week he had known what he was going to do--he had made up his mind. This abject horror through which others had let themselves be dragged to madness or death he would not endure. The end should come quickly, and no one should be smitten aghast by seeing or knowing how it came. In the crowded shabbier streets of London there were lodging-houses where one, by taking precautions, could end his life in such a manner as would blot him out of any world where such a man as himself had been known. A pistol, properly managed, would obliterate resemblance to any human thing. Months ago through chance talk he had heard how it could be done--and done quickly. He could leave a misleading letter. He had planned what it should be--the story it should tell of a disheartened mediocre venturer of his poor all returning bankrupt and humiliated from Australia, ending existence in such pennilessness that the parish must give him a pauper's grave. What did it matter where a man lay, so that he slept--slept--slept? Surely with one's brains scattered one would sleep soundly anywhere.
He had come to the house the night before, dressed shabbily with the pitiable respectability of a defeated man. He had entered droopingly with bent shoulders and hopeless hang of head. In his own sphere he was a man who held himself well. He had let fall a few dispirited sentences when he had engaged his back room from the woman of the house, and she had recognized him as one of the luckless. In fact, she had hesitated a moment before his unreliable look until he had taken out money from his pocket and paid his rent for a week in advance. She would have that at least for her trouble, he had said to himself. He should not occupy the room after to-morrow. In his own home some days would pass before his household began to make inquiries. He had told his servants that he was going over to Paris for a change. He would be safe and deep in his pauper's grave a week before they asked each other why they did not hear from him. All was in order. One of the mocking agonies was that living was done for. He had ceased to live. Work, pleasure, sun, moon, and stars had lost their meaning. He stood and looked at the most radiant loveliness of land and sky and sea and felt nothing. Success brought greater wealth each day without stirring a pulse of pleasure, even in triumph. There was nothing left but the awful days and awful nights to which he knew physicians could give their scientific name, but had no healing for. He had gone far enough. He would go no farther. To-morrow it would have been over long hours. And there would have been no public declaiming over the humiliating pitifulness of his end. And what did it matter?
How thick the fog was outside--thick enough for a man to lose himself in it. The yellow mist which had crept in under the doors and through the crevices of the window-sashes gave a ghostly look to the room--a ghastly, abnormal look, he said to himself. The fire was smouldering instead of blazing. But what did it matter? He was going out. He had not bought the pistol last night--like a fool. Somehow his brain had been so tired and crowded that he had forgotten.
The opening pages of The Dawn of a To-morrow establish a dual perspective on a London fog—either a 'grewsome' oppression or a 'mysteriously enclosing' comfort—before narrowing to the second view as the protagonist, Antony Dart, awakens in a poor lodging-house. The narrative voice shifts from detached, almost essayistic observation to a tight focus on Dart's internal state: 'a man—he had given his name to the people of the house as Antony Dart—awakened in a third-story bedroom.' This transition signals a story less concerned with plot than with psychological and spiritual transformation, rendered through the cadences of colloquial speech and the rhythms of urban poverty.
Two Ways of Seeing: Structure and Voice
The novella opens with a generalizing, almost philosophical paragraph on the two ways of looking at a London fog, using balanced clauses and a leisurely pace. This expository voice gives way to a more intimate, fragmented style once Dart's perspective takes over. The shift is abrupt: 'This is one way of looking at it, but only one. The other way is marked by enormous differences.' The narrator then enters Dart's consciousness, describing his physical sensations and memories in a stream of detail. This structural pivot—from broad observation to personal experience—mirrors the thematic move from despair to a tentative hope. The language becomes more compressed, with shorter sentences and dialogue that captures the rhythms of working-class speech, as when Glad says, 'It's cheerfler. There's no 'ell fire in it.'
Colloquial Cadences and the 'Cheerfler' Faith
Burnett renders the speech of the poor with phonetic spelling and distinctive vocabulary: 'Dunno,' 'lidy,' 'curick,' 'cheerfler.' This is not mere dialect color but a vehicle for a new kind of belief. Glad's account of the 'lidy' who taught a doctrine without hellfire or divine blame is delivered in a voice that mixes awe with practicality: 'if we kep' sayin' an' believin' 'e's close to us an' not millyuns o' miles away, we'd be took care of whilst we was alive.' The repetition of 'cheerfler' and 'cheerfleness' becomes a refrain, contrasting with the curate's 'Gawd's will' that provokes Glad's cry of 'Then damn him!' The narrative does not endorse this faith but presents it as a functional alternative, one that 'helped' the women 'fight it out.'
Pacing and the Rhythm of Revelation
The story's pacing alternates between static, interior reflection and sudden, dramatic outbursts. Dart's initial lethargy—'he rubbed his forehead'—gives way to moments of intense emotion, as when Glad 'threw up her arms with a sudden jerk and involuntary gesture' and cries 'I'm alive! I'm alive!' The narrative lingers on physical details—the fog, the fire, the stairway's 'crookedness'—before accelerating into dialogue that reveals the new belief. This rhythm creates a sense of incremental awakening, where small, repeated phrases (''S on'y me, Miss Montaubyn') build toward a cumulative effect. The final excerpt, with its shift to a legal appendix, underscores the contrast between the intimate, halting progress of the story and the impersonal machinery of the Gutenberg project.
Readers attentive to voice will notice how Burnett uses dialect not as a marker of ignorance but as a vehicle for philosophical challenge. The 'cheerfler' faith is never fully defined, remaining a rumor of hope that the narrative treats with cautious respect. Pay attention to the way silence and hesitation—Dart's rubbing his forehead, Glad's 'uncertain' chin—punctuate the dialogue, suggesting that what matters is not the doctrine but the act of listening itself.
Sometimes, after reading about Glad’s quiet resilience in that fog, I found myself returning to the violinist’s same lonely hour, and thought how both of them search for a hand in the dark. Then I remembered The Fifth String — A Closer Reading, and that gentle ache lingered differently, like hearing a familiar tune played in a minor key.
There are no reviews for this eBook.
Your personal reading reflection
Build a private reading journal entry for this title.