The Getting of Wisdom · Chapter
XXI explained
Laura is invited to join the boarders' Literary Society, which marks a turning point in her social reintegration.
What happens
Laura is invited to join the boarders' Literary Society, which marks a turning point in her social reintegration. She struggles to write a piece for the society, first attempting a romantic novel set in Venice, which fails miserably. After receiving advice from Cupid to write about everyday life, she produces a tedious, overly detailed account of a school day, which is also poorly received. Through these failures, Laura begins to grapple with the difference between romanticized fiction and realistic writing, influenced by her accidental reading of Ibsen's 'A Doll's House.'
Themes in this chapter
Imagination vs. Harsh Reality
Laura's struggle to write reveals the tension between her romantic imagination (Venetian romance) and the harsh reality of her own life; her failed attempts mirror her earlier confusion reading Ibsen's realistic play.
Friendship and the Desire for Belonging
Laura's invitation to the Literary Society is a key step in her social reintegration; her prickly behavior and desire for approval from Cupid and Mary highlight her ongoing need for belonging.
Truth, Lies, and Self-Deception
Laura's pedantic truth-telling and suspicion of others stem from her earlier exposure; her literary efforts also grapple with the truth of everyday life versus romantic falsehood.
Characters to notice
- Laura Rambotham
Struggles with writing for the Literary Society, oscillating between romantic fantasy and dull realism; grapples with her own prickly personality and truth-telling after her earlier fall from grace.
- Cupid
A leading spirit of the Literary Society; advises Laura to write about everyday life rather than romanticized fiction; teases Laura but offers practical guidance.
- Mary Pidwall
Also a leading spirit of the Society; Laura's roommate and friend; offers judicious criticism of Laura's first literary effort.
- M. P.
The head of Laura's class; writes an essay on 'Magnanimity' that moves Laura; Laura emulates her pedantic adherence to bald fact.
- Mrs. Gurley
Scolds Laura for playing scales with the forte pedal down while Laura is distracted reading 'A Doll's House' in the drawing-room.
Key passages
“But it might quite well be so. For she had spent a topsy-turvy, though highly engrossing hour. In place of the children’s story she anticipated, she had found herself, on opening the book, confronted by the queerest stuff she had ever seen in print.”
Laura had been so absorbed in reading Ibsen's 'A Doll's House' that she didn't realize she was playing the piano badly; the play was nothing like the children's story she expected, and it confused her deeply.
Laura's first encounter with literary realism through Ibsen's play, which challenges her romantic expectations.
“You were warned not to be too cocky, you know,” Mary said judicially, on seeing her downcast air. “I didn’t mean to be, really. Then you don’t think what I wrote was up to much, M. P. ?” “Mm,” said the elder girl, in a noncommittal way.”
After Laura's first reading to the Literary Society was a flop, Mary reminded her she had been warned against overconfidence; Laura sought validation from M. P., who gave a noncommittal response.
Laura's humiliation after her failed romantic story, and her reliance on her friends' approval.
“Well then, why on earth try to write wooden, secondhand rubbish like that?” “Secondhand?… But Cupid… think of Scott! He couldn’t have seen half he told about?” “My gracious!” ejaculated Cupid, and sat down and fanned herself with a hairbrush. “You don’t imagine you’re a Scott, do you?”
Cupid criticized Laura's Venetian story as derivative, and Laura defended herself by citing Sir Walter Scott, who wrote about places he never visited; Cupid mocked the comparison.
Laura's romantic idealism clashes with Cupid's pragmatic advice to write from direct experience.
