A Terrible Temptation: A Story of To-Day — Background and Themes

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Reade, Charles, 1814-1884 Project Gutenberg 2005 Not confirmed
England -- Fiction Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 138,478
Reading time 603 min
Text sections 17

For A Terrible Temptation: A Story of To-Day — Background and Themes, the stored edition analysis reports 138,478 words, 10 hr 3 min estimated reading time, and 17 detected text sections.

The text analysis averages about 15.1 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 “England -- Fiction,” connecting these edition facts with the source record’s subject description.

Charles Reade's 1871 novel contrasts a submissive heroine's 'May I?' with a villain's scowl and a madhouse's unsettling order, using physical detail to expose power struggles in Victorian marriage and property.
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Editorial Edition Score 4.8/5

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Read the Text

THE morning-room of a large house in Portman Square, London.

A gentleman in the prime of life stood with his elbow on the broad mantel-piece, and made himself agreeable to a young lady, seated a little way off, playing at work.

To the ear he was only conversing, but his eyes dwelt on her with loving admiration all the time. Her posture was favorable to this furtive inspection, for she leaned her fair head over her work with a pretty, modest, demure air, that seemed to say, “I suspect I am being admired: I will not look to see: I might have to check it.”

The gentleman's features were ordinary, except his brow--that had power in it--but he had the beauty of color; his sunburned features glowed with health, and his eye was bright. On the whole, rather good-looking when he smiled, but ugly when he frowned; for his frown was a scowl, and betrayed a remarkable power of hating.

Miss Arabella Bruce was a beauty. She had glorious masses of dark red hair, and a dazzling white neck to set it off; large, dove-like eyes, and a blooming oval face, which would have been classical if her lips had been thin and finely chiseled; but here came in her Anglo-Saxon breed, and spared society a Minerva by giving her two full and rosy lips. They made a smallish mouth at rest, but parted ever so wide when they smiled, and ravished the beholder with long, even rows of dazzling white teeth.

Her figure was tall and rather slim, but not at all commanding. There are people whose very bodies express character; and this tall, supple, graceful frame of Bella Bruce breathed womanly subservience; so did her gestures. She would take up or put down her own scissors half timidly, and look around before threading her needle, as if to see whether any soul objected. Her favorite word was “May I?” with a stress on the “May,” and she used it where most girls would say “I will,” or nothing, and do it.

Mr. Richard Bassett was in love with her, and also conscious that her fifteen thousand pounds would be a fine addition to his present income, which was small, though his distant expectations were great. As he had known her but one month, and she seemed rather amiable than inflammable, he had the prudence to proceed by degrees; and that is why, though his eyes gloated on her, he merely regaled her with the gossip of the day, not worth recording here. But when he had actually taken his hat to go, Bella Bruce put him a question that had been on her mind the whole time, for which reason she had reserved it to the very last moment.

“Is Sir Charles Bassett in town?” said she, mighty carelessly, but bending a little lower over her embroidery.

“Don't know,” said Richard Bassett, with such a sudden brevity and asperity that Miss Bruce looked up and opened her lovely eyes. Mr. Richard Bassett replied to this mute inquiry, “We don't speak.” Then, after a pause, “He has robbed me of my inheritance.”

“Yes, Miss Bruce, the Bassett and Huntercombe estates were mine by right of birth. My father was the eldest son, and they were entailed on him. But Sir Charles's father persuaded my old, doting grandfather to cut off the entail, and settle the estates on him and his heirs; and so they robbed me of every acre they could. Luckily my little estate of Highmore was settled on my mother and her issue too tight for the villains to undo.”

These harsh expressions, applied to his own kin, and the abruptness and heat they were uttered with, surprised and repelled his gentle listener. She shrank a little away from him. He observed it. She replied not to his words, but to her own thought:

“But, after all, it does seem hard.” She added, with a little fervor, “But it wasn't poor Sir Charles's doing, after all.”

“He is content to reap the benefit,” said Richard Bassett, sternly.

The opening chapter of A Terrible Temptation introduces a striking contrast in physical description: Richard Bassett's brow has 'power in it' and his frown 'betrayed a remarkable power of hating,' while Arabella Bruce's 'womanly subservience' is written into her gestures—she takes up scissors 'half timidly' and her favorite word is 'May I?' with a stress on the 'May.' This asymmetry of power, encoded in bodies and speech, sets the stage for a story in which property, madness, and marital control are contested through subtle and not-so-subtle coercion.

Bodies That Speak: Power Written on the Face and Frame

Reade invests heavily in physical description as a marker of character and social position. Bassett's 'sunburned features glowed with health' but his frown is a 'scowl'; Arabella's 'dazzling white neck' and 'large, dove-like eyes' are paired with a posture of deference. The narrator even notes that 'people whose very bodies express character'—and Arabella's 'tall, supple, graceful frame' breathes 'womanly subservience.' This is not mere ornament: the text uses these details to foreshadow who will dominate and who will yield. Later, in the asylum, Lady Bassett's trembling and her hands 'put together with a look that might have melted a hangman' show how physical expression continues to convey desperation and negotiation in a setting where speech is constrained.

The Asylum as a Stage for Hidden Agendas

The asylum scenes invert the drawing-room's polite surfaces. Mr. Coyne's 'singular play of countenance'—puckering into 'obsequiousness'—alerts Lady Bassett that something is amiss. The nurses shift from 'authoritative' to 'unobtrusive' at his footstep, and the patients 'kept more apart from each other than ladies do in general.' Reade uses the controlled environment to heighten tension: a woman signals from a corridor, a keeper named Jones is bribed, and Sir Charles, though incarcerated, insists on consoling his wife rather than being consoled. The asylum becomes a space where the power dynamics of the outside world are replicated but also subverted—Lady Bassett must navigate its rules to reach her husband.

Property, Inheritance, and the Threat of Madness

Arabella's 'fifteen thousand pounds' is mentioned in the first chapter as a motive for Bassett, linking romantic pursuit to financial calculation. Later, Sir Charles's capture 'like a felon' and imprisonment in an asylum suggest that property and sanity are intertwined: his malady is both a medical and a legal vulnerability. When Lady Bassett learns she will be a father, Sir Charles begins to 'get better' and to 'laugh at Richard Bassett's malice.' The text implies that inheritance—the prospect of an heir—shifts the balance of power. Reade does not resolve whether Sir Charles's condition is genuine or manufactured, but the excerpts show that madness is a weapon as much as a misfortune, wielded within a system where a man's estate and a woman's agency are at stake.

Readers attentive to Reade's method will watch how each character's body—a scowl, a trembling hand, a sudden obsequiousness—carries the weight of unspoken conflict. The novel's title promises a temptation, but the excerpts suggest that the real test may be how characters read and misread one another's surfaces. The asylum, like the drawing-room, is a place where performance and sincerity blur; the story rewards close attention to who controls the narrative of sanity, property, and desire.

Reading about the madhouse in A Terrible Temptation, I remembered the year I spent pacing my own rooms, asking the same "May I?" of everyone but myself. Years later, A Phantom Lover — Reading Companion coaxed that memory back—how its quiet dread echoed the subtle surrender I thought I'd buried. Some books simply breathe beside you a while.

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