My Uncle Florimond — Reading Companion

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Harland, Henry, 1861-1905 Project Gutenberg 2015 Not confirmed
Orphans -- Juvenile fiction; Conduct of life -- Juvenile fiction; Children -- Conduct of life -- Juvenile fiction; Grandmothers -- Juvenile fiction; Children and death -- Juvenile fiction; Uncles -- Juvenile fiction; Diligence -- Juvenile fiction; Success -- Juvenile fiction; Pride and vanity -- Juvenile fiction; Swords -- Juvenile fiction; Clerks -- Juvenile fiction; Discipline of children -- Juvenile fiction; Nobility -- Juvenile fiction Readers of public-domain and historical texts
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Edition facts

Words 32,461
Reading time 142 min
Text sections 4

The catalog record for My Uncle Florimond — Reading Companion provides practical reading context through 32,461 words, 2 hr 22 min estimated reading time, and 4 detected text sections.

The text analysis averages about 16.9 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 “Orphans -- Juvenile fiction,” connecting these edition facts with the source record’s subject description.

An editorial note on Henry Harland's 'My Uncle Florimond,' examining the narrative voice of orphan Gregory Brace, the shifts between Gothic domestic tension and comic relief in New York, and the rhythmic changes in pace from fearful stillness to lively, absurd episodes.
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Editorial Edition Score 4.6/5

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  • Description quality20 pts
  • Title & short description10 pts
  • Source metadata20 pts
  • Text length15 pts
  • Chapters / structure15 pts
  • EPUB file integrity20 pts

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her explained to me that in this particular--signing his family name without his given one--he but followed a custom prevalent among French noblemen. Well, as I was saying, his letters for the most part were quite unexciting; yet, nevertheless, I listened to them with rapt attention, reluctant to lose a single word. This was for the good and sufficient reason that they came from him--from my Uncle Florimond--from my hero, the Marquis de la Bourbonnaye. And after my grandmother had finished reading one of them, I would ask, “May I look at it, please?” To hold it between my fingers, and gaze upon it, exerted a vague, delightful fascination over me. To think that his own hand had touched this paper, had shaped these characters, less than a fortnight ago! My Uncle Florimond's very hand! It was wonderful!

I was born on the first of March, 1860; so that on the first of March, 1870, I became ten years of age. On the morning of that day, after breakfast, my grandmother called me to her room.

“Thou shalt have a holiday to-day,” she said; “no study, no lessons. But first, stay.”

She unlocked the lowest drawer of the big old-fashioned bureau-desk at which she used to write, and took from it something long and slender, wrapped up in chamois-skin. Then she undid and peeled off the chamois-skin wrapper, and showed me--what do you suppose? A beautiful golden-hilted sword, incased in a golden scabbard!

“Isn't it pretty?” she asked.

“Oh! lovely, superb,” I answered, all admiration and curiosity.

“Guess a little, _mon petit_, whom it belonged to?” she went on.

“To--oh! to my Uncle Florimond--I am sure,” I exclaimed.

“Right. To thy Uncle Florimond. It was presented to him by the king, by King Louis XVIII.”

“By the king--by the king!” I repeated wonderingly. “Just think!”

“Precisely. By the king himself, as a reward of valor and a token of his regard. And when I was married my brother gave it to me as a keepsake. And now--and now, my Gregory, I am going to give it to thee as a birthday present.”

“To me! Oh!” I cried. That was the most I could say. I was quite overcome by my surprise and my delight.

“Yes, I give it to thee; and we will hang it up in thy bed-chamber, on the wall opposite thy bed; and every night and every morning thou shalt look at it, and think of thy Uncle Florimond, and remember to be like him. So thy first and thy last thought every day shall be of him.”

I leave it to you to fancy how happy this present made me, how happy and how proud. For many years that sword was the most highly prized of all my goods and chattels. At this very moment it hangs on the wall in my study, facing the table at which I write these lines.

A day or two later, when I made my usual afternoon trip to the post-office, I found there a large, square brown-paper package, about the size of a school geography, postmarked Paris, and addressed, in my Uncle Florimond's handwriting, not to my grandmother, but to me! to my very self. “Monsieur Grégoire Brace, chez Madame Brace, Norwich Town, Connecticut, Etats-unis d'Amérique.” At first I could hardly believe my eyesight. Why should my Uncle Florimond address anything to me? What could it mean? And what could the contents of the mysterious parcel be? It never occurred to me to open it, and thus settle the question for myself; but, burning with curiosity, I hastened home, and putting it into my grandmother's hands, informed her how it had puzzled and astonished me. She opened it at once, I peering eagerly over her shoulder; and then both of us uttered an exclamation of delight. It was a large illustrated copy of my favorite story, “Paul et Virginie,” bound in scarlet leather, stamped and lettered in gold; and on the fly-leaf, in French, was written, “To my dear little nephew Gregory, on his tenth birthday with much love from his Uncle de la Bourbonnaye.” I can't tell you how this book pleased me. That my Uncle Florimond should care enough for me to send me such a lovely birthday gift! For weeks afterward I wanted no better entertainment than to read it, and to look at its pictures, and remember who had sent it to me. Of course, I sat right down and wrote the very nicest letter I possibly could, to thank him for it.

The narrative voice of Gregory Brace, the orphaned protagonist of Henry Harland's My Uncle Florimond, establishes itself early through a precise, almost clinical attention to physical detail. His description of Uncle Peter—'a stern, cold, frowning man, tall and dark, with straight black hair, a lean, smooth-shaven face, thin lips, hard black eyes, and bushy black eyebrows that grew together over his nose'—creates a portrait of menace that is both vivid and restrained. The voice is that of a child who has learned to observe carefully, to catalogue threats, and to measure his own fear. This observational clarity, however, is not static; it shifts markedly when Gregory moves from Norwich to New York, where the prose loosens into broader comedy and the pacing accelerates into scenes of farcical energy.

From Gothic Stillness to Comic Motion

The opening chapters in Norwich Town are dominated by a sense of frozen dread. Gregory's terror of Uncle Peter is rendered through repetitive, almost ritualistic actions: 'When I had to pass the door of his room, if he was in, I always quickened my pace and went on tiptoe.' The prose lingers on the physical sensations of fear—'my heart would sink into my boots, and my whole skin turn goose-flesh'—creating a slow, claustrophobic rhythm. The household is governed by silence and the threat of punishment. This pace changes abruptly when Gregory arrives at Mr. Finkelstein's establishment in New York. The language becomes looser, the sentences shorter, and the scenes fill with physical comedy: a hand-organ played by foot, a secret nap, and a request that Gregory 'shust turn dot craink a little while I go to sleep.' The shift is not merely geographical but tonal; the narrative moves from a world of whispered terror to one of open, absurd activity.

Dialect and the Rhythm of Speech

Harland uses dialect not only to mark character but to alter the tempo of the narrative. Mr. Finkelstein's speech—'Vail, Kraikory, I suppose you tink I'm crazy, hey?'—is rendered with a phonetic precision that slows the reader, forcing attention to each syllable. The repeated 'vail' and 'dere's a goot poy' create a rhythmic, almost musical pattern that contrasts with the clipped, formal English of Gregory's narration. This change in pace is deliberate: the dialect scenes are often the most leisurely, filled with digressions and repeated encouragements ('You got a graind tailent for music, Kraikory'). In contrast, the Norwich sections are compressed, with dialogue sparse and functional. The voice of the narrative itself adapts to its surroundings, speeding up in the city and slowing down in the country, as if the prose is breathing differently in each location.

Recurring Motifs and Structural Pacing

Two recurring motifs—music and keys—serve as structural markers that regulate the narrative's pace. The hand-organ appears as a comic device but also as a mechanism for time-passing: Gregory's afternoons are measured by the turning of the crank. The 'Carnival of Venice' tune, which 'brought my heart into my mouth,' links the New York scenes back to his grandmother's piano in Norwich, creating a rhythmic echo across the text. Similarly, the motif of locked doors and keyholes—Gregory peeking through Uncle Peter's keyhole 'with the fascinated terror of one gazing into an ogre's den'—reappears in the Finkelstein household, where Mr. Finkelstein locks the hand-organ away 'out of sight in a closet.' These repeated actions create a pattern of concealment and revelation that structures the pacing, alternating between moments of hidden tension and open, comic release.

Readers attentive to shifts in narrative tempo will find that Harland uses changes in sentence length, dialect density, and physical description to map Gregory's emotional journey. The movement from the oppressive stillness of Norwich to the bustling, eccentric world of Mr. Finkelstein is not just a plot device but a formal experiment in pacing. Pay attention to how the prose slows when Gregory is afraid and accelerates when he is amused or curious. The hand-organ, with its repetitive crank, becomes a metaphor for the narrative's own rhythm: sometimes grinding slowly, sometimes rollicking, but always in motion.

In My Uncle Florimond, Gregory’s fearful stillness always found its comic release, a rhythm I recognized years later while shelving a scouting tale whose courage, too, lived in those quiet pauses before action. A Boy Scout's Courage — Text and Context holds that same tender pulse, a shared patience between two very different boys.

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