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"Lady Ferry" is a novella by Sarah Orne Jewett that explores themes of love, loss, and the passage of time through the lens of a small New England community. The story revolves around the character of Lady Ferry, a former belle who grapples with her past while navigating the complexities of her relationships. Jewett's lyrical prose immerses readers in the rich imagery of the setting, highlighting the connection between personal history and the natural world. The work is a poignant reflection on the enduring impacts of memory and the deep-seated ties of community.


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Submitted by davidb on February 12, 2025


								
possessors of the Ferry farm must have been strange men. One often hears of the influence of climate upon character; there is a strong influence of place; and the inanimate things which surround us indoors and out make us follow out in our lives their own silent characteristics. We unconsciously catch the tone of every house in which we live, and of every view of the outward, material world which grows familiar to us, and we are influenced by surroundings nearer and closer still than the climate or the country which we inhabit. At the old Haverford house it was mystery which one felt when one entered the door; and when one came away, after cordiality, and days of sunshine and pleasant hospitality, it was still with a sense of this mystery, and of something unseen and unexplained. Not that there was any thing covered and hidden necessarily; but it was the quiet undertone in the house which had grown to be so old, and had known the magnificent living of Colonel Haverford's time, and afterward the struggles of poor gentlemen and women, who had hardly warmed its walls with their pitiful fires, and shivering, hungry lives; then the long procession of travellers who had been sheltered there in its old tavern days; finally, my cousin Matthew and his wife, who had made it their home, when, with all their fortune, they felt empty-handed, and as if their lives were ended, because their only son had died. Here they had learned to be happy again in a quiet sort of way, and had become older and serener, loving this lovable place by the river, and keepers of its secret--whatever that might be. I was wide awake that first evening: I was afraid of being sent to bed, and, to show cousin Agnes that I was not sleepy, I chattered far more than usual. It was warm, and the windows of the parlor where we sat looked upon the garden. The moon had risen, and it was light out of doors. I caught every now and then the faint smell of honeysuckle, and presently I asked if I might go into the garden a while; and cousin Agnes gave me leave, adding that I must soon go to bed, else I would be very tired next day. She noticed that I looked grave, and said that I must not dread being alone in the strange room, for it was so near her own. This was a great consolation; and after I had been told that the tide was in, and I must be careful not to go too near the river wall, I went out through the tall glass door, and slowly down the wide garden-walk, from which now and then narrower walks branched off at right angles. It was the pride of the place, this garden; and the box-borders especially were kept with great care. They had partly been trimmed that day; and the evening dampness brought out the faint, solemn odor of the leaves, which I never have noticed since without thinking of that night. The roses were in bloom, and the snowball-bushes were startlingly white, and there was a long border filled with lilies-of-the-valley. The other flowers of the season were all there and in blossom; yet I could see none well but the white ones, which looked like bits of snow and ice in the summer shadows,--ghostly flowers which one could see at night. It was still in the garden, except once I heard a bird twitter sleepily, and once or twice a breeze came across the river, rustling the leaves a little. The small-paned windows glistened in the moonlight, and seemed like the eyes of the house watching me, the unknown new-comer. For a while I wandered about, exploring the different paths, some of which were arched over by the tall lilacs, or by arbors where the grape-leaves did not seem fully grown. I wondered if my mother would miss me. It seemed impossible that I should have seen her only that morning; and suddenly I had a consciousness that she was thinking of me, and she seemed so close to me, that it would not be strange if she could hear what I said. And I called her twice softly; but the sound of my unanswered voice frightened me. I saw some round white flowers at my feet, looking up mockingly. The smell of the earth and the new grass seemed to smother me. I was afraid to be there all alone in the wide open air; and all the tall bushes that were so still around me took strange shapes, and seemed to be alive. I was so terribly far away from the mother whom I had called; the pleasure of my journey, and my coming to cousin Agnes, faded from my mind, and that indescribable feeling of hopelessness and dread, and of having made an irreparable mistake, came in its place. The thorns of a straying slender branch of a rose-bush caught my sleeve maliciously as I turned to hurry away, and then I caught sight of a person in the path just before me. It was such a relief to see some one, that I was not frightened when I saw that it must be Lady Ferry. She was bent, but very tall and slender, and was walking slowly with a cane. Her head was covered with a great hood or wrapping of some kind, which she pushed back when she saw me. Some faint whitish figures on her dress looked like frost in the moonlight; and the dress itself was made of some strange stiff silk, which rustled softly like dry rushes and grasses in the autumn,--a rustling noise that carries a chill with it. She came close to me, a sorrowful little figure very dreary at heart, standing still as the flowers themselves; and for several minutes she did not speak, but watched me, until I began to be afraid of her. Then she held out her hand, which trembled as if it were trying to shake off its rings. "My dear," said she "I bid you welcome: I have known your father. I was told of your coming. Perhaps you will walk with me? I did not think to find you here alone." There was a fascinating sweetness in Madam's voice, and I at once turned to walk beside her, holding her hand fast, and keeping pace with her feeble steps. "Then you are not afraid of me?" asked the old lady, with a strange quiver in her voice. "It is a long time since I have seen a child."--"No," said I, "I am not afraid of you. I was frightened before I saw you, because I was all alone, and I wished I could see my father and mother;" and I hung my head so that my new friend could not see the tears in my eyes, for she watched me curiously. "All alone: that is like me," said she to herself. "All alone? a child is not all alone, but there is no one like me. I am something alone: there is nothing else of my fashion, a creature who lives forever!" and Lady Ferry sighed pitifully. Did she mean that she never was going to die like other people? But she was silent, and I did not dare to ask for any explanation as we walked back and forward. Her fingers kept moving round my wrist, smoothing it as if she liked to feel it, and to keep my hand in hers. It seemed to give her pleasure to have me with her, and I felt quite at my ease presently, and began to talk a little, assuring her that I did not mind having taken the journey of that day.
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Sarah Orne Jewett

Sarah Orne Jewett (1849-1909) was an American novelist and short story writer renowned for her depictions of rural life in New England. Her most notable work, "The Country of the Pointed Firs," exemplifies her keen observation of local culture and her ability to evoke the natural landscape. Jewett's writing often explores themes of community, gender, and the complexities of life in small towns, and she is celebrated for her richly drawn characters and lyrical prose. As a prominent figure in the regionalist literary movement, she influenced later writers and remains an important voice in American literature. more…

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