Japonette — Story, Setting & Ideas
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For Japonette — Story, Setting & Ideas, the stored edition analysis reports 63,518 words, 4 hr 37 min estimated reading time, and 11 detected text sections.
The text analysis averages about 12.6 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 “New York (N.Y.) -- Social life and customs -- Fiction,” connecting these edition facts with the source record’s subject description.
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t, who was not only old in years, but also old in fashion—so obsolete, in fact, were the fashions he clung to that he had used his last cent in a matter which he regarded as involving his personal honor.
The ethically laudable but materially ruinous integrity of old Henry Tennant had made matters rather awkward for his orphaned nieces. Similar traditions in the Edgerton family—of which there now remained only a single representative, James Edgerton 3d—devastated that young man’s inheritance so completely that he came back to the United States, via Boston, on a cattle steamer and arrived in New York the following day with two dollars in loose silver and a confused determination to see the affair through without borrowing.
He walked from the station to the nearest of his clubs. It was very early, and the few club servants on duty gazed at him with friendly and respectful sympathy.
In the visitors’ room he sat down, wrote out his resignation, drew up similar valedictories to seven other expensive and fashionable clubs, and then picked up his two suit cases again, declining with a smile the offered assistance from Read, the doorman who had been in service there as long as the club had existed.
"Mr. Edgerton," murmured the old man, "Mr. Inwood is in the Long Room, sir."
Edgerton thought a moment, then walked to the doorway of the Long Room and looked in. At the same time Inwood glanced up from his newspaper.
"Hello!" he exclaimed; "is that you, Edgerton?"
"Who the devil do you think it is?" replied Edgerton amiably.
They shook hands. Inwood said:
"What’s the trouble—a grouch, a hangover, or a lady?"
Edgerton laughed, placed his suit cases on the floor, and seated himself in a corner of the club window for the first time in six months—and for the last time in many, many months to come.
"It’s hot in town," he observed. "How are you, Billy?"
"Blooming. Accept from me a long, cold one with a permanent fizz to it. Yes? No? A Riding Club cocktail, then? What? Nix for the rose-wreathed bowl?"
Edgerton shook his head. "Nix for the bowl, thanks."
"Well, you won’t mind if I ring for first-aid materials, will you?"
The other politely waved his gloved hand.
A servant arrived and departed with the emergency order. Inwood pushed an unpleasant and polychromatic mess of Sunday newspapers aside and reseated himself in the leather chair.
"I’m terribly sorry about what happened to you, Jim," he said. "So is everybody. We all thought it was to be another gay year of that dear Paris for you——"
"I thought so, too," nodded Edgerton; "but what a fellow thinks hasn’t anything to do with anything. I’ve found out that."
Inwood emptied his glass and gazed at the frost on it, sentimentally.
"The main thing," he said, "is for your friends to stand by you——"
"No; the main thing is for them to stand aside—kindly, Billy—while I pass down and out for a while."
"While I pass _out_," repeated Edgerton. "I may return; but that will be up to me—and not up to them."
"Well, what good is friendship?"
"Good to believe in—no good otherwise. Let it alone and it’s the finest thing in the world; use it, and you will have to find another name for it."
"Friendship must remain always the happiest and most comforting of all—theories," he said. "Let it alone; it has a value inestimable in its own place—no value otherwise."
Inwood began to laugh.
"Your notion concerning friends and friendship isn’t the popular one."
"But my friends will sleep the sounder for knowing what are my views concerning friendship."
"That’s cynical and unfair," began the other, reddening.
"No, it’s honest; and you notice that even my honesty puts a certain strain on our friendship," retorted Edgerton, still laughing.
"You’re only partly in earnest, aren’t you?"
"Oh, I’m never really in earnest about anything. That’s why Fate extended an unerring and iron hand, grasped me by the slack of my pants, shook me until all my pockets turned inside out, and set me down hard on the trolley tracks of Destiny. Just now I’m crawling for the sidewalk and the skirts of Chance."
He laughed again without the slightest bitterness, and looked out of the window.
The view from the club window was soothing: Fifth Avenue lay silent and deserted in the sunshine of an early summer morning.
Inwood said: "The papers—everybody—spoke most glowingly of the way your firm settled with its creditors."
Robert W. Chambers opens Japonette with a chapter titled “In Forma Pauperis,” a legal phrase meaning “in the manner of a pauper,” which immediately signals the story’s concern with financial ruin and its social consequences. The novel’s eleven chapter headings—all in Latin, from Corpus Delicti to Desunt Cætera—form a kind of legal or philosophical index to the narrative, hinting at a world where conduct is judged, evidence weighed, and verdicts rendered. This editorial note examines how Chambers’s diction, dialogue, and descriptive choices build a specific social milieu in early twentieth-century New York.
Legal Framing and Moral Vocabulary
The Latin chapter titles are not mere decoration. “In Forma Pauperis” introduces James Edgerton 3rd, who arrives in New York with two dollars after his inheritance is wiped out by an “honest” business failure. The narrator describes the ruin as “ethically laudable but materially ruinous,” a phrase that sets up a recurring tension between moral integrity and practical survival. Later chapters such as “Sub Judice” (under judgment) and “Compos Mentis” (of sound mind) suggest that characters are constantly being evaluated—by each other, by society, and by the reader. Chambers uses this legal vocabulary to frame personal dilemmas as matters of evidence and verdict, without ever turning the novel into a courtroom drama.
Dialogue as Tactical Exchange
Chambers’s dialogue is marked by witty, indirect sparring. In the rose-garden pavilion scene, Silvette tries to dismiss Jack Rivett by saying she will be “writing about two hours.” He parries: “But why write about hours at all, dear lady. An hour is an arbitrary division of time, interesting only to the unhappy.” The exchange is playful but pointed: Jack’s refusal to take a hint is couched in charm, and Silvette’s annoyance is undercut by her own amusement. Chambers renders these encounters with precise stage directions—a shadow checkering the lattice, a penholder bit in frustration—that make the social dance visible. The dialogue never becomes expository; instead, it reveals character through rhythm and evasion.
Descriptive Economy and Social Detail
Chambers builds his world with selective, telling details. Colonel Curmew is described as having “pale eyes slightly protruding, his curling mustache and little side whiskers faintly redolent of brilliantine.” The detail of brilliantine—a scented hair oil—immediately places him as a man of a certain age and pretension. Similarly, the narrator notes that Diana is “poor,” “self-supporting,” and “alone in the world except for a similarly situated sister who didn’t count.” The bluntness of “who didn’t count” is striking; it reflects the characters’ own calculus of social worth. Chambers uses such economical phrases to convey class assumptions without editorializing, letting the reader infer the pressures operating on his characters.
The Unreliable Observer and Ironic Distance
Chambers’s narrator often adopts a tone of ironic detachment, reporting characters’ thoughts with a hint of mockery. When Colonel Curmew believes that “such women were perfectly capable of appreciating middle-aged military gentlemen of discretion, fortune, and liberality in reason,” the narrator does not contradict him—but the juxtaposition of the colonel’s self-flattering logic with his “little side whiskers” and brilliantine scent undercuts his confidence. This technique creates a gap between what characters think and what the reader perceives. The narrator never steps in to judge, but the accumulation of such details builds a quiet critique of the social games being played.
Readers attentive to Chambers’s word choices will find a novel that rewards close reading. The Latin chapter headings, the layered dialogue, and the narrator’s ironic distance all contribute to a portrait of a society where honor and money are constantly in tension. The excerpts suggest that Japonette is less a romance than a study of how people perform their lives under scrutiny—legal, social, and self-imposed.
Reading about Japonette’s careful observations of honor and poverty brought me back to a quiet afternoon under the palmettos, where another story’s genteel struggles felt just as tender and precise. There’s something comforting in how these old novels hold their characters’ dignity so gently. Miss Fairfax of Virginia: A Romance of Love and Adventure Under the Palmettos — Story, Setting & Ideas gave me that same warm, unhurried ache.
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