Book Anatomy · The Scarlet Pimpernel
The Scarlet Pimpernel: Prose style
17 lenses on prose style for The Scarlet Pimpernel by Baroness Orczy. Count lenses are exact for our text. AI lenses are our reading and cite only quotes that passed a word for word check.
Jump to: H1 H2 H3 H4 H5 H6 H7 H8 H9 H10 H11 H12 H13 H14 H15 H16 H17
H1. Readability score per chapter. Count
Flesch reading ease for the whole book is about 65 (higher is easier; 60 to 70 is plain English).
Reading ease per chapter, chapter by chapter
H2. Vocabulary range. Count
7,224 different words. On average 53 in every 100 words are new within a 500 word stretch. 2,972 words appear only once.
H3. Signature words: what this author uses far more than others. Count
andrew, scarlet, france, whilst, armand. See the full lens on the book page.
H4. Adverb and adjective rates. Count
About 21.06 words ending in 'ly' and 12.9 likely adjectives per 1,000 words. (rough estimate from word lists)
'ly' words per 1,000, chapter by chapter
H5. Share of weak verbs such as "was" and "had". Count
'Was', 'were', 'had', 'is' and 'are' make up 3.4% of all words.
H6. Passive voice rate. Count
About 5.8% of sentences use a passive form such as 'was taken'. (rough estimate from word lists)
H7. Variety of sentence openings. Count
The five most common first words start 27% of sentences: the, she, i, he, but.
| First word | Sentences |
|---|---|
| the | 304 |
| she | 241 |
| i | 239 |
| he | 205 |
| but | 165 |
| marguerite | 113 |
| it | 112 |
| you | 97 |
| and | 94 |
| chauvelin | 87 |
H8. Rhythm: how much sentence length varies. Count
Sentence length varies by 0.75 of its mean on average (higher means a more varied rhythm).
Variation per chapter, chapter by chapter
H9. Similes and metaphors: how many, and of what kind. Both
104 likely similes ('like a', 'as ... as'): 1.22 per 1,000 words. (rough estimate from word lists)
Ch 1, para 12: Oh! that was extremely funny, for as often as not the fugitive would prove to be a woman, some proud marchioness, who looked terribly comical when she found …
Ch 1, para 50: At the first mention of the word small-pox, Bibot had stepped hastily backwards, and when the old hag spoke of the plague, he retreated from her as fast …
Ch 2, para 16: That Mr. Jellyband, landlord of “The Fisherman’s Rest” at Dover, was a prosperous man, was of course clear to the most casual observer. The pewter on the fine …
Ch 2, para 35: “I don’t ’xpect nothing, Mr. Jellyband,” he said. “Pore folks like us is of no account up there in Lunnon, I knows that, and it’s not often as …
Ch 3, para 31: “Aye, my lord. Sir Percy’s skipper was here just now. He says that my lady’s brother is crossing over to France to-day in the Day Dream, which is …
Ch 4, para 19: “But my husband, Monsieur,” said the Comtesse, whilst unshed tears seemed to veil her voice, “he is in such deadly peril—I would never have left him, only . …
The book uses similes sparingly but effectively, mostly comparing emotional states to physical sensations or natural phenomena. Metaphors dominate, particularly the Pimpernel flower as heroism and disguise as truth-hiding.
Chapters: Ch 1, Ch 16, Ch 18, Ch 25
The paper always contained a brief notice that the band of meddlesome Englishmen were at work, and it was always signed with a device drawn in red—a little star-shaped flower, which we in England call the Scarlet Pimpernel. (Ch 1, para 18)
A curious look of intense passion seemed to glow from beneath his drooping lids, the mouth was tightly closed, the lips compressed, as if the will alone held that surging passion in check. (Ch 16, para 56)
Only he, who has ever by accident sniffed vigorously a dose of pepper, can have the faintest conception of the hopeless condition in which such a sniff would reduce any human being. (Ch 25, para 60)
H10. Senses used: sight, sound, smell, touch, taste. Both
Share of sense words. sight 49%, sound 29%, touch 16%, taste 6%, smell 1%. (rough estimate from word lists)
| Sense | Words |
|---|---|
| sight | 565 |
| sound | 335 |
| touch | 179 |
| taste | 64 |
| smell | 11 |
Sight dominates throughout. Sound appears in dialogue and music at the ball. Touch is used for emotional intensity in intimate scenes. Smell features memorably in the pepper snuff escape. Taste barely registers.
Chapters: Ch 11, Ch 16, Ch 25, Ch 31
Only he, who has ever by accident sniffed vigorously a dose of pepper, can have the faintest conception of the hopeless condition in which such a sniff would reduce any human being. (Ch 25, para 60)
Long to reign over us, God save the King! (Ch 25, para 4)
Suddenly from somewhere, not very far away, a cheerful, strong voice was heard singing “God save the King! (Ch 29, para 40)
H11. Repetition, lists of three and other patterns. Both
95 lists of three in the pattern 'a, b and c': 1.11 per 1,000 words. (rough estimate from word lists)
Lists of three appear in character descriptions and action sequences. Repetition of the Pimpernel device and the phrase about hidden identity recurs. The pattern of Marguerite's impossible choices repeats across chapters 8, 10, 13, 29.
Chapters: Ch 1, Ch 4, Ch 8, Ch 10, Ch 13, Ch 29
The paper always contained a brief notice that the band of meddlesome Englishmen were at work, and it was always signed with a device drawn in red—a little star-shaped flower, which we in England call the Scarlet Pimpernel. (Ch 1, para 18)
Because the Scarlet Pimpernel works in the dark, and his identity is only known under a solemn oath of secrecy to his immediate followers. (Ch 4, para 29)
a dozen words in the same distorted handwriting she had seen before, and bearing the same device—a star-shaped flower drawn in red ink. (Ch 12, para 46)
H12. Old words that may trip modern readers. Count
Old forms that may trip a modern reader: whilst, nay, ere, whence, anon, twas.
| Word | Times |
|---|---|
| whilst | 89 |
| nay | 40 |
| ere | 7 |
| whence | 7 |
| anon | 6 |
| twas | 2 |
| hither | 2 |
| thither | 2 |
| thy | 1 |
| thee | 1 |
H13. Showing against telling, with examples. AI
The book shows character through action and dialogue more than summary. Marguerite's inner conflict is shown through her physical reactions and choices rather than explanation. Percy's true nature emerges through his deeds, not description.
Chapters: Ch 5, Ch 6, Ch 16, Ch 18, Ch 19, Ch 25
Tall, above the average, with magnificent presence and regal figure, it is small wonder that even the Comtesse paused for a moment in involuntary admiration before turning her back on so fascinating an apparition. (Ch 5, para 20)
A curious look of intense passion seemed to glow from beneath his drooping lids, the mouth was tightly closed, the lips compressed, as if the will alone held that surging passion in check. (Ch 16, para 56)
Without haste, but without hesitation, she walked quietly into the house. (Ch 19, para 84)
H14. How much description comes before action. Both
Description is woven into action rather than preceding it. Settings emerge as characters move through them. The ball, the inn, and the cliffs are revealed through what happens there, not static detail.
Chapters: Ch 1, Ch 11, Ch 21, Ch 24, Ch 28
H15. Filter words such as "saw", "felt", "heard". Count
Filter words ('saw', 'felt', 'heard' and so on): 6.29 per 1,000 words.
| Word | Times |
|---|---|
| seemed | 150 |
| felt | 81 |
| heard | 75 |
| thought | 68 |
| knew | 64 |
| saw | 38 |
| watched | 26 |
| wondered | 18 |
| realised | 13 |
| noticed | 4 |
H16. Shifts in tone. AI
Tone shifts from comic in early chapters at the inn to tense during the ball scenes, then darkens into tragedy as Marguerite races to warn Percy. The final chapter returns to romantic resolution. Percy's foolish mask contrasts with grave moments.
Chapters: Ch 2, Ch 3, Ch 11, Ch 19, Ch 28, Ch 31
Why, I wouldn’t so much as drink a glass of ale with one o’ them murderin’ Frenchmen, and nothin’ ’d make me change my opinions. (Ch 2, para 66)
It was certainly a preposterous suggestion that anyone could ever upset Mr. Jellyband’s firmly-rooted opinions anent the utter worthlessness of the inhabitants of the whole continent of Europe. (Ch 2, para 75)
A curious look of intense passion seemed to glow from beneath his drooping lids, the mouth was tightly closed, the lips compressed, as if the will alone held that surging passion in check. (Ch 16, para 56)
H17. How the comedy works. AI
Comedy works through Percy's affected foolishness masking brilliance, Jellyband's pompous certainty, and witty dialogue deflating tension. Marguerite's sharp remarks cut through pretence. The pepper snuff escape uses physical comedy.
Chapters: Ch 2, Ch 5, Ch 6, Ch 11, Ch 25
Why, I wouldn’t so much as drink a glass of ale with one o’ them murderin’ Frenchmen, and nothin’ ’d make me change my opinions. (Ch 2, para 66)
It was certainly a preposterous suggestion that anyone could ever upset Mr. Jellyband’s firmly-rooted opinions anent the utter worthlessness of the inhabitants of the whole continent of Europe. (Ch 2, para 75)
Only he, who has ever by accident sniffed vigorously a dose of pepper, can have the faintest conception of the hopeless condition in which such a sniff would reduce any human being. (Ch 25, para 60)
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