A Woman-Hater — A Reader’s Guide
Edition facts
A Woman-Hater — A Reader’s Guide can be approached with a clearer sense of reading commitment from its source measurements: 161,272 words, 11 hr 42 min estimated reading time, and 18 detected text sections.
The text analysis averages about 14.4 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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- 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
en, sensible girl, and not a downright wicked one; only born artful. This was Fanny Dover; and the tall gentleman--whose relation she was, and whose wife she resolved to be in one year, three years, or ten, according to his power of resistance--was Harrington Vizard, a Barfordshire squire, with twelve thousand acres and a library.
As for Fanny, she had only two thousand pounds in all the world; so compensating Nature endowed her with a fair complexion, gray, mesmeric eyes, art, and resolution--qualities that often enable a poor girl to conquer landed estates, with their male incumbrances.
Beautiful and delicate--on the surface--as was Miss Dover's courtship of her first cousin once removed, it did not strike fire; it neither pleased nor annoyed him; it fell as dead as a lantern firing on an iceberg. Not that he disliked her by any means. But he was thirty-two, had seen the world, and had been unlucky with women. So he was now a _divorce',_ and a declared woman-hater; railed on them, and kept them at arm's-length, Fanny Dover included. It was really comical to see with what perfect coolness and cynical apathy he parried the stealthy advances of this cat-like girl, a mistress in the art of pleasing--when she chose.
Inside the room, on a couch of crimson velvet, sat a young lady of rare and dazzling beauty. Her face was a long but perfect oval, pure forehead, straight nose, with exquisite nostrils; coral lips, and ivory teeth. But what first struck the beholder were her glorious dark eyes, and magnificent eyebrows as black as jet. Her hair was really like a raven's dark-purple wing.
These beauties, in a stern character, might have inspired awe; the more so as her form and limbs were grand and statuesque for her age; but all was softened down to sweet womanhood by long, silken lashes, often lowered, and a gracious face that blushed at a word, blushed little, blushed much, blushed pinky, blushed pink, blushed roseate, blushed rosy; and, I am sorry to say, blushed crimson, and even scarlet, in the course of those events I am about to record, as unblushing as turnip, and cool as cucumber. This scale of blushes arose not out of modesty alone, but out of the wide range of her sensibility. On hearing of a noble deed, she blushed warm approbation; at a worthy sentiment, she blushed heart-felt sympathy. If you said a thing at the fire that might hurt some person at the furthest window, she would blush for fear it should be overheard, and cause pain.
In short, it was her peculiarity to blush readily for matters quite outside herself, and to show the male observer (if any) the amazing sensibility, apart from egotism, that sometimes adorns a young, high-minded woman, not yet hardened by the world.
This young lady was Zoe Vizard, daughter of Harrington's father by a Greek mother, who died when she was twelve years of age. Her mixed origin showed itself curiously. In her figure and face she was all Greek, even to her hand, which was molded divinely, but as long and large as befitted her long, grand, antique arm; but her mind was Northern--not a grain of Greek subtlety in it. Indeed, she would have made a poor hand at dark deceit, with a transparent face and eloquent blood, that kept coursing from her heart to her cheeks and back again, and painting her thoughts upon her countenance.
The novel opens with a striking parallel: a lady and a theatrical agent sit in the same Homburg hotel, each hunting—one for a person, the other for a singer. The lady, described with meticulous physical detail—'her gray eyes large and profound,' 'her mouth rather large, beautifully shaped, amiable, and expressive, but full of resolution'—studies a visitors' book with 'a soul not to be diverted from its object.' The agent, Joseph Ashmead, scribbles telegrams and letters, frantic to replace an ill singer within thirty hours. Reade establishes a world of purposeful pursuit, where gender and profession intersect in unexpected ways.
Parallel Hunts and Ironic Mirrors
The narrative sets two searches side by side: the lady's unknown quarry and Ashmead's urgent need for a singer. Both are methodical, absorbed, and indifferent to the waiter's attempts to rouse them. Reade underscores the parallel through structural repetition—'hunting' appears twice in quick succession—and through the lady's intense scrutiny of names, treating the visitors' book as a clue. The agent's hunt is transparent; the lady's remains opaque, creating a mystery that the excerpts do not resolve. This mirroring suggests a thematic interest in how men and women pursue goals, and how society reads their efforts differently.
Voice, Performance, and Social Currency
Music and voice become instruments of social maneuvering. When Severne sings an Italian love song to Fanny Dover, his 'low tenor, round, and sweet as honey' draws Zoe 'as if drawn by an irresistible cord.' Reade details his training under 'the Klosking,' who cured him of 'the fatal whine' and taught him climax and purity. The performance is a calculated act of jealousy, a bid to reclaim attention from Lord Uxmoor. Fanny's dry retorts—'I can bear a good deal of it—after such a fast'—underscore the transactional nature of flirtation. Voice here is both art and weapon, a reflection of character and intent.
Social Hierarchies and Unspoken Rules
Reade sketches a rigid social landscape through small gestures. Lord Uxmoor arrives with 'dark blue coach; silver harness, glittering in the sun; four chestnuts, glossy as velvet'—a display of wealth that instantly shifts the room's dynamics. Severne feels 'dethroned' and 'mortified,' yet hides it. Vizard's rule to leave the room whenever the women play piano hints at gendered domestic codes. Fanny's complaint—'I am tired of never being made love to'—exposes the performative nature of courtship. These details, drawn from the excerpts, suggest a world where status, wealth, and gender dictate every interaction, and where characters navigate these constraints with varying degrees of self-awareness.
Readers attentive to Reade's use of parallel structure and social detail will find a novel that rewards careful observation. The excerpts offer no resolution to the lady's hunt or the romantic entanglements, but they establish a pattern of contrasts—between openness and secrecy, art and calculation, rank and merit. Pay attention to how characters use voice, whether sung or spoken, and how they read others' intentions. The title's promise of a 'woman-hater' may prove more complex than it first appears.
Years shelving, I've noticed how Reade's ironic eye in A Woman-Hater finds its quiet echo in another work’s patient unravelling of intent. Both circle the same human muddle—what we claim to seek versus what we truly pursue. That older book’s sharp-edged parallel feels gentler, somehow, in The Major — A Closer Reading, like the same story told twice, with the second telling softer at the corners.
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