Castle Richmond

It may be imagined that Mr. Mollett's drive back to Cork after his last visit to Castle Richmond had not been very pleasant; and indeed it may be said that his present circumstances altogether were as unpleasant as his worst enemies could desire. I have endeavoured to excite the sympathy of those who are going with me through this story for the sufferings of that family of the Fitzgeralds; but how shall I succeed in exciting their sympathy for the sufferings of Mr. Mollett?

Blackmailer's unpleasant return marks inheritance pressure on Fitzgeralds — plot as sympathy contest — so plot scores 86.

Owen Fitzgerald of Hap House, now as I have ever been, that and nothing more,--for as to the handle to my name it is not worth talking about." They were still sitting at the table, and now they both sat silent, not looking at each other, but with their eyes fixed on the wood.

Hap House Owen refuses handle to his name — cast as passion without title hunger — so cast scores 85.

I believe there is no period of life so happy as that in which a thriving lover leaves his mistress after his first success. His joy is more perfect then than at the absolute moment of his own eager vow, and her half-assenting blushes. Then he is thinking mostly of her, and is to a certain degree embarrassed by the effort necessary for success. But when the promise has once been given to him, and he is able to escape into the domain of his own heart, he is as a conqueror who has mastered half a continent.

Post-success retreat into the heart dilates before doubts harden — serial pause inside lover plot — so pace scores 83.

I wonder whether the novel-reading world--that part of it, at least, which may honour my pages--will be offended if I lay the plot of this story in Ireland! That there is a strong feeling against things Irish it is impossible to deny. Irish servants need not apply; Irish acquaintances are treated with limited confidence; Irish cousins are regarded as being decidedly dangerous; and Irish stories are not popular with the booksellers.

Market-prejudice catalog as sentence rhythm — argumentative Irish opener — so prose scores 86.

I might have called this "A Tale of the Famine Year in Ireland." At the period of the year to which the story has brought us--and at which it will leave us--the famine was at its very worst.

Alternate title names catastrophe; close freezes at worst famine — world as historical weather — so world scores 90.

I wonder whether the novel-reading world--that part of it, at least, which may honour my pages--will be offended if I lay the plot of this story in Ireland! That there is a strong feeling against things Irish it is impossible to deny.

Challenge to reader prejudice before characters — hook as dare — so hook scores 89.

Were it not that I eschew the fashion of double names for a book, thinking that no amount of ingenuity in this respect will make a bad book pass muster, whereas a good book will turn out as such though no such ingenuity be displayed, I might have called this "A Tale of the Famine Year in Ireland."

Narrator confesses famine-tale title then refuses fashion of double names — romance framed as historical testimony — so innov scores 88.

And now my story is told; and were it not for the fashion of the thing, this last short chapter might be spared. It shall at any rate be very short. Were it not that I eschew the fashion of double names for a book, thinking that no amount of ingenuity in this respect will make a bad book pass muster, whereas a good book will turn out as such though no such ingenuity be displayed, I might have called this "A Tale of the Famine Year in Ireland."

Story declared finished while famine left at worst — ending as historical residual over bridal seal — so ending scores 85.