The Key Note: A Novel — Reading Notes
Edition facts
This digital edition of The Key Note: A Novel — Reading Notes is described by source-level measurements including 72,174 words, 5 hr 14 min estimated reading time, and 8 detected text sections.
The text analysis averages about 11.9 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 “Love stories,” 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
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Read the Text
Diana looked down from her balcony on his tumbling blond hair.
"You have a very good presence for your purpose," she said.
"What is my purpose?"
"The concert stage, is it not? Perhaps even opera, later?"
"Yes, divine huntress, if I ever succeed in making it."
"You will make it unless you are unpardonably dilatory and neglectful. Every time you utter a musical tone it sends a vibration coursing through my nerves with a pleasant thrill."
Philip looked up at the speaker with his sea-blue, curious gaze, which she received serenely.
"Bully for you, Miss Wilbur. That's all I can say. Bully for you."
"I am glad if that encourages you," she said kindly. "It is quite outside my own volition."
"Then I don't need to thank you, eh?"
"Oh, not in the least."
Philip laughed and stooped again to his job.
"Let me see, Apollo--he struck liars and knew how to prescribe for the croup, didn't he, besides being a looker beyond all comers?"
Diana smiled. "You think of everything in terms of humor, do you not?" she rejoined.
"Perhaps--of most things, but not of you."
"Oh, I think of me most of all."
"Far from it," said Philip. "I wouldn't dare. If my voice gives you a thrill, yours gives me a chill."
"I can't believe that really," said Diana equably, watching Philip's expert handling of the trowel. "You are always laughing at me. I don't in the least understand why, but it doesn't matter at all. I think it is a quite laudable mission to make people laugh. What a good gardener you are, Mr. Barrison."
"Oh, isn't he, though!" exclaimed Miss Priscilla, emerging from the house. "Think of my luck that Phil really likes to fuss with flowers. Ox-chains couldn't drag him to do it if he didn't like to."
"Really?" returned Diana. "Is she not maligning you, Mr. Barrison? Are you really the slave of caprice?"
"I deny it," said Philip. "It doesn't sound nice."
"It would be a dire thing for you," declared the girl. "But you do not ask me what I am naming the Inn."
"Oh, it is an Inn, is it?"
"Yes," put in Miss Priscilla. "Since the leaks are mended, both pipes and roof, and the stove's up and the chimney draws, I think we can call it that."
"What is it, then? 'The Dew Drop'?" inquired Philip.
"I particularly dislike puns," said Diana quietly. "I like 'The Wayside.' Why shouldn't we call it 'The Wayside Inn'?"
"You have my permission," said Philip.
"We do not need anything original, but we do need a name that is lovely. 'The Wayside Inn' is lovely."
"So be it," said Philip.
"And you're not forgettin' what you are goin' to do to-morrow, are you, dear boy?" said Miss Priscilla ingratiatingly.
"Not if it isn't to go again for the plumber," replied Philip. "His wrenches and hammers are too handy; and I'm sure one more call up here would render him dangerous."
"Mr. Buell is a very pleasant man," said Diana. "So is Mr. Blake, the carpenter. I have learned such interesting expressions from them. Mr. Blake was showing me the fault in one of the gables of this house. He said the builder had given the roof a 'too quick yank.' Is not that quaint?"
"Ha, ha, ha," laughed Philip up into the girl's serious face. "Bully for Matt. You may get the vernacular, after all."
"I'm not quick," said Diana. "I'm afraid I should not prove an apt pupil."
"But, Philip," said Miss Priscilla, "about to-morrow. You know you'll have to get the early boat to go to meet Veronica. It's perfectly splendid of you to go, dear boy. I don't know how I could spare the time. I've got to get several rooms ready for to-morrow, and the child is such an utter stranger in this part o' the world."
"Oh, yes, I'll go," said Philip carelessly. "I think the Inn will be relieved that I can get a hair-cut. My tresses are nearly ready to braid now."
Diana smiled pensively. "I think you are very amusing, Mr. Barrison," she said.
Philip vaulted up over the railing and took a seat beside her, regarding his earth-stained hands and then her serene countenance, whose gaze was bent upon him. He shook his head to toss the blond forelock out of his eyes.
"So my voice gives you a thrill, eh?"
"Oh, decidedly," was the devout response.
"That's a good thing. I thought perhaps you couldn't really be roused from your dreaminess before the fourth of July, but I have some tones that in that case will be warranted to set you and the echoes going at the same time."
Diana clasped her hands. "Oh, utter them," she begged.
The novel opens with a striking contrast between the sea's glittering beauty and the sagging piazza of a boarding house. Miss Burridge, the landlady, picks her teeth with a pin while her boarder, Diana Wilbur, gazes at the 'illimitable be-diamonded blue.' This tension between the sublime and the mundane recurs throughout the excerpts, as Diana's dreamy appreciation of nature clashes with the practical demands of plumbing and carpentry. The structure moves between these poles, with scenes set against the island's balsamic air and others in cramped rooms where letters and conversations reveal hidden family histories.
The Rapscallion and the Boarding House
The first chapter, titled 'The Rapscallion,' introduces the boarding house as a place where the sublime and the ridiculous coexist. Miss Burridge's practical complaints—about the carpenter and plumber—are juxtaposed with Diana's poetic exclamations. The setting is described in sensory detail: 'bunches of savin and bay and groups of Christmas trees' and 'exhilarating balsamic odors.' Yet the house itself is physically failing, with a 'saggin' corner' and a broken pipe. This duality sets up a structural pattern: the narrative repeatedly moves between expansive outdoor scenes and confining interiors, between lofty ideals and gritty realities.
Letters as Structural Devices
Letters play a crucial role in advancing the plot and revealing character. Diana receives a letter from her mother that warns against 'the artistic temperament' and recounts a family tragedy involving a cousin, Herbert Loring, whose daughter eloped. The letter's tone is controlling and fearful, contrasting sharply with Diana's own openness. Later, Diana shares this letter with Mrs. Lowell, and their exchange—'One always weeps too soon'—highlights how letters serve as catalysts for action. The epistolary moments punctuate the narrative, shifting the focus from the island's present to past events and distant relationships.
Recurring Images of Water and Light
Water and light are persistent images. The sea 'glittered in all directions' and is described as 'be-diamonded blue.' Diana, lying in bed, sees 'a spot of sapphire' in the ceiling crack, which she interprets as 'a day-star full of promise.' These images are not merely decorative; they reflect Diana's idealistic perspective. In contrast, her mother's letter speaks of 'sad memories' and 'tragedy,' using no such imagery. The movement between these visual registers—from the transcendent to the mundane—structures the reader's experience, as moments of beauty are undercut by practical or emotional concerns.
Movement Between Isolation and Connection
The narrative oscillates between Diana's solitary moments and her interactions with others. She arrives alone on the island, and her mother's letter emphasizes her isolation: 'you are thrown among ordinary people.' Yet Diana quickly forms a bond with Mrs. Lowell, and their shared reading of the letter creates a moment of intimacy. The structure of the excerpts shows Diana moving from private reflection (gazing at the sea) to shared confidences (discussing the letter). This pattern suggests that the novel's central movement is from solitude toward relationship, though the excerpts do not reveal the outcome.
Readers attentive to the interplay of setting and correspondence will find that Burnham uses these elements to build tension between individual desire and family expectation. The island itself becomes a character, its beauty both inspiring and indifferent to human drama. As the narrative unfolds, watch how the recurring images of light and water shift in meaning, and how letters continue to bridge the gap between the island's present and the mainland's past.
This book’s Diana, adrift between glittering sea and shabby boarding house, reminded me of a summer I spent feeling like an outsider in my own family’s cottage. The tension between artistic temperament and practical worry—that same quiet friction lives in The making of a bigot — Text and Context, where preconceptions soften against place. Both novels let a character slowly unlearn, and I recognized that gentle unraveling in myself.
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