A New England Nun


A New England Nun (1891) is a poignant story about finding happiness in a difficult situation. After a year of courtship, Louisa's lover Joe Dagget set out to seek his fortune. Fourteen additional years have passed. Joe has returned and Lousia is expected to wed him in one month's time. Freeman's work is featured in our study guides, Feminist Literature and Realism.
A New England Nun by Mary E. Wilkins Freeman

It was late in the afternoon, and the light was waning. There was a difference in the look of the tree shadows out in the yard. Somewhere in the distance cows were lowing and a little bell was tinkling; now and then a farm-wagon tilted by, and the dust flew; some blue-shirted laborers with shovels over their shoulders plodded past; little swarms of flies were dancing up and down before the peoples' faces in the soft air. There seemed to be a gentle stir arising over everything for the mere sake of subsidence -- a very premonition of rest and hush and night.

This soft diurnal commotion was over Louisa Ellis also. She had been peacefully sewing at her sitting-room window all the afternoon. Now she quilted her needle carefully into her work, which she folded precisely, and laid in a basket with her thimble and thread and scissors. Louisa Ellis could not remember that ever in her life she had mislaid one of these little feminine appurtenances, which had become, from long use and constant association, a very part of her personality.

Louisa tied a green apron round her waist, and got out a flat straw hat with a green ribbon. Then she went into the garden with a little blue crockery bowl, to pick some currants for her tea. After the currants were picked she sat on the back door-step and stemmed them, collecting the stems carefully in her apron, and afterwards throwing them into the hen-coop. She looked sharply at the grass beside the step to see if any had fallen there.

Louisa was slow and still in her movements; it took her a long time to prepare her tea; but when ready it was set forth with as much grace as if she had been a veritable guest to her own self. The little square table stood exactly in the centre of the kitchen, and was covered with a starched linen cloth whose border pattern of flowers glistened. Louisa had a damask napkin on her tea-tray, where were arranged a cut-glass tumbler full of teaspoons, a silver cream-pitcher, a china sugar-bowl, and one pink china cup and saucer. Louisa used china every day -- something which none of her neighbors did. They whispered about it among themselves. Their daily tables were laid with common crockery, their sets of best china stayed in the parlor closet, and Louisa Ellis was no richer nor better bred than they. Still she would use the china. She had for her supper a glass dish full of sugared currants, a plate of little cakes, and one of light white biscuits. Also a leaf or two of lettuce, which she cut up daintily. Louisa was very fond of lettuce, which she raised to perfection in her little garden. She ate quite heartily, though in a delicate, pecking way; it seemed almost surprising that any considerable bulk of the food should vanish.

After tea she filled a plate with nicely baked thin corn-cakes, and carried them out into the back-yard.

"Ceasar!" she called. "Ceasar! Ceasar!"

There was a little rush, and the clank of a chain, and a large yellow-and-white dog appeared at the door of his tiny hut, which was half hidden among the tall grasses and flowers. Louisa patted him and gave him the corn-cakes. Then she returned to the house and washed the tea-things, polishing the china carefully. The twilight had deepened; the chorus of the frogs floated in at the open window wonderfully loud and shrill, and once in a while a long sharp drone from a tree-toad pierced it. Louisa took off her green gingham apron, disclosing a shorter one of pink and white print. She lighted her lamp, and sat down again with her sewing.

In about half an hour Joe Dagget came. She heard his heavy step on the walk, and rose and took off her pink-and-white apron. Under that was still another -- white linen with a little cambric edging on the bottom; that was Louisa's company apron. She never wore it without her calico sewing apron over it unless she had a guest. She had barely folded the pink and white one with methodical haste and laid it in a table-drawer when the door opened and Joe Dagget entered.

He seemed to fill up the whole room. A little yellow canary that had been asleep in his green cage at the south window woke up and fluttered wildly, beating his little yellow wings against the wires. He always did so when Joe Dagget came into the room.

"Good-evening," said Louisa. She extended her hand with a kind of solemn cordiality.

"Good-evening, Louisa," returned the man, in a loud voice.

She placed a chair for him, and they sat facing each other, with the table between them. He sat bolt-upright, toeing out his heavy feet squarely, glancing with a good-humored uneasiness around the room. She sat gently erect, folding her slender hands in her white-linen lap.

"Been a pleasant day," remarked Dagget.

"Real pleasant," Louisa assented, softly. "Have you been haying?" she asked, after a little while.

"Yes, I've been haying all day, down in the ten-acre lot. Pretty hot work."

"It must be."

"Yes, it's pretty hot work in the sun."

"Is your mother well to-day?"

"Yes, mother's pretty well."

"I suppose Lily Dyer's with her now?"

Dagget colored. "Yes, she's with her," he answered, slowly.

He was not very young, but there was a boyish look about his large face. Louisa was not quite as old as he, her face was fairer and smoother, but she gave people the impression of being older.

"I suppose she's a good deal of help to your mother," she said, further.

"I guess she is; I don't know how mother'd get along without her," said Dagget, with a sort of embarrassed warmth.

"She looks like a real capable girl. She's pretty-looking too," remarked Louisa.

"Yes, she is pretty fair looking."

Presently Dagget began fingering the books on the table. There was a square red autograph album, and a Young Lady's Gift-Book which had belonged to Louisa's mother. He took them up one after the other and opened them; then laid them down again, the album on the Gift-Book.

Louisa kept eying them with mild uneasiness. Finally she rose and changed the position of the books, putting the album underneath. That was the way they had been arranged in the first place.

Dagget gave an awkward little laugh. "Now what difference did it make which book was on top?" said he.

Louisa looked at him with a deprecating smile. "I always keep them that way," murmured she.

"You do beat everything," said Dagget, trying to laugh again. His large face was flushed.

He remained about an hour longer, then rose to take leave. Going out, he stumbled over a rug, and trying to recover himself, hit Louisa's work-basket on the table, and knocked it on the floor.

He looked at Louisa, then at the rolling spools; he ducked himself awkwardly toward them, but she stopped him. "Never mind," said she; "I'll pick them up after you're gone."

She spoke with a mild stiffness. Either she was a little disturbed, or his nervousness affected her, and made her seem constrained in her effort to reassure him.

When Joe Dagget was outside he drew in the sweet evening air with a sigh, and felt much as an innocent and perfectly well-intentioned bear might after his exit from a china shop.

Louisa, on her part, felt much as the kind-hearted, long-suffering owner of the china shop might have done after the exit of the bear.

She tied on the pink, then the green apron, picked up all the scattered treasures and replaced them in her work-basket, and straightened the rug. Then she set the lamp on the floor, and began sharply examining the carpet. She even rubbed her fingers over it, and looked at them.

"He's tracked in a good deal of dust," she murmured. "I thought he must have."

Louisa got a dust-pan and brush, and swept Joe Dagget's track carefully.

If he could have known it, it would have increased his perplexity and uneasiness, although it would not have disturbed his loyalty in the least. He came twice a week to see Louisa Ellis, and every time, sitting there in her delicately sweet room, he felt as if surrounded by a hedge of lace. He was afraid to stir lest he should put a clumsy foot or hand through the fairy web, and he had always the consciousness that Louisa was watching fearfully lest he should.

Still the lace and Louisa commanded perforce his perfect respect and patience and loyalty. They were to be married in a month, after a singular courtship which had lasted for a matter of fifteen years. For fourteen out of the fifteen years the two had not once seen each other, and they had seldom exchanged letters. Joe had been all those years in Australia, where he had gone to make his fortune, and where he had stayed until he made it. He would have stayed fifty years if it had taken so long, and come home feeble and tottering, or never come home at all, to marry Louisa.

But the fortune had been made in the fourteen years, and he had come home now to marry the woman who had been patiently and unquestioningly waiting for him all that time.

Shortly after they were engaged he had announced to Louisa his determination to strike out into new fields, and secure a competency before they should be married. She had listened and assented with the sweet serenity which never failed her, not even when her lover set forth on that long and uncertain journey. Joe, buoyed up as he was by his sturdy determination, broke down a little at the last, but Louisa kissed him with a mild blush, and said good-by.

"It won't be for long," poor Joe had said, huskily; but it was for fourteen years.

In that length of time much had happened. Louisa's mother and brother had died, and she was all alone in the world. But greatest happening of all -- a subtle happening which both were too simple to understand -- Louisa's feet had turned into a path, smooth maybe under a calm, serene sky, but so straight and unswerving that it could only meet a check at her grave, and so narrow that there was no room for any one at her side.

Louisa's first emotion when Joe Dagget came home (he had not apprised her of his coming) was consternation, although she would not admit it to herself, and he never dreamed of it. Fifteen years ago she had been in love with him -- at least she considered herself to be. Just at that time, gently acquiescing with and falling into the natural drift of girlhood, she had seen marriage ahead as a reasonable feature and a probable desirability of life. She had listened with calm docility to her mother's views upon the subject. Her mother was remarkable for her cool sense and sweet, even temperament. She talked wisely to her daughter when Joe Dagget presented himself, and Louisa accepted him with no hesitation. He was the first lover she had ever had.

She had been faithful to him all these years. She had never dreamed of the possibility of marrying any one else. Her life, especially for the last seven years, had been full of a pleasant peace, she had never felt discontented nor impatient over her lover's absence; still she had always looked forward to his return and their marriage as the inevitable conclusion of things. However, she had fallen into a way of placing it so far in the future that it was almost equal to placing it over the boundaries of another life.

When Joe came she had been expecting him, and expecting to be married for fourteen years, but she was as much surprised and taken aback as if she had never thought of it.

Joe's consternation came later. He eyed Louisa with an instant confirmation of his old admiration. She had changed but little. She still kept her pretty manner and soft grace, and was, he considered, every whit as attractive as ever. As for himself, his stent was done; he had turned his face away from fortune-seeking, and the old winds of romance whistled as loud and sweet as ever through his ears. All the song which he had been wont to hear in them was Louisa; he had for a long time a loyal belief that he heard it still, but finally it seemed to him that although the winds sang always that one song, it had another name. But for Louisa the wind had never more than murmured; now it had gone down, and everything was still. She listened for a little while with half-wistful attention; then she turned quietly away and went to work on her wedding clothes.

Joe had made some extensive and quite magnificent alterations in his house. It was the old homestead; the newly-married couple would live there, for Joe could not desert his mother, who refused to leave her old home. So Louisa must leave hers. Every morning, rising and going about among her neat maidenly possessions, she felt as one looking her last upon the faces of dear friends. It was true that in a measure she could take them with her, but, robbed of their old environments, they would appear in such new guises that they would almost cease to be themselves. Then there were some peculiar features of her happy solitary life which she would probably be obliged to relinquish altogether. Sterner tasks than these graceful but half-needless ones would probably devolve upon her. There would be a large house to care for; there would be company to entertain; there would be Joe's rigorous and feeble old mother to wait upon; and it would be contrary to all thrifty village traditions for her to keep more than one servant. Louisa had a little still, and she used to occupy herself pleasantly in summer weather with distilling the sweet and aromatic essences from roses and peppermint and spearmint. By-and-by her still must be laid away. Her store of essences was already considerable, and there would be no time for her to distil for the mere pleasure of it. Then Joe's mother would think it foolishness; she had already hinted her opinion in the matter. Louisa dearly loved to sew a linen seam, not always for use, but for the simple, mild pleasure which she took in it. She would have been loath to confess how more than once she had ripped a seam for the mere delight of sewing it together again. Sitting at her window during long sweet afternoons, drawing her needle gently through the dainty fabric, she was peace itself. But there was small chance of such foolish comfort in the future. Joe's mother, domineering, shrewd old matron that she was even in her old age, and very likely even Joe himself, with his honest masculine rudeness, would laugh and frown down all these pretty but senseless old maiden ways.

Louisa had almost the enthusiasm of an artist over the mere order and cleanliness of her solitary home. She had throbs of genuine triumph at the sight of the window-panes which she had polished until they shone like jewels. She gloated gently over her orderly bureau-drawers, with their exquisitely folded contents redolent with lavender and sweet clover and very purity. Could she be sure of the endurance of even this? She had visions, so startling that she half repudiated them as indelicate, of coarse masculine belongings strewn about in endless litter; of dust and disorder arising necessarily from a coarse masculine presence in the midst of all this delicate harmony.

Among her forebodings of disturbance, not the least was with regard to Ceasar. Ceasar was a veritable hermit of a dog. For the greater part of his life he had dwelt in his secluded hut, shut out from the society of his kind and all innocent canine joys. Never had Ceasar since his early youth watched at a woodchuck's hole; never had he known the delights of a stray bone at a neighbor's kitchen door. And it was all on account of a sin committed when hardly out of his puppyhood. No one knew the possible depth of remorse of which this mild-visaged, altogether innocent-looking old dog might be capable; but whether or not he had encountered remorse, he had encountered a full measure of righteous retribution. Old Ceasar seldom lifted up his voice in a growl or a bark; he was fat and sleepy; there were yellow rings which looked like spectacles around his dim old eyes; but there was a neighbor who bore on his hand the imprint of several of Ceasar's sharp white youthful teeth, and for that he had lived at the end of a chain, all alone in a little hut, for fourteen years. The neighbor, who was choleric and smarting with the pain of his wound, had demanded either Ceasar's death or complete ostracism. So Louisa's brother, to whom the dog had belonged, had built him his little kennel and tied him up. It was now fourteen years since, in a flood of youthful spirits, he had inflicted that memorable bite, and with the exception of short excursions, always at the end of the chain, under the strict guardianship of his master or Louisa, the old dog had remained a close prisoner. It is doubtful if, with his limited ambition, he took much pride in the fact, but it is certain that he was possessed of considerable cheap fame. He was regarded by all the children in the village and by many adults as a very monster of ferocity. St. George's dragon could hardly have surpassed in evil repute Louisa Ellis's old yellow dog. Mothers charged their children with solemn emphasis not to go too near to him, and the children listened and believed greedily, with a fascinated appetite for terror, and ran by Louisa's house stealthily, with many sidelong and backward glances at the terrible dog. If perchance he sounded a hoarse bark, there was a panic. Wayfarers chancing into Louisa's yard eyed him with respect, and inquired if the chain were stout. Ceasar at large might have seemed a very ordinary dog, and excited no comment whatever; chained, his reputation overshadowed him, so that he lost his own proper outlines and looked darkly vague and enormous. Joe Dagget, however, with his good-humored sense and shrewdness, saw him as he was. He strode valiantly up to him and patted him on the head, in spite of Louisa's soft clamor of warning, and even attempted to set him loose. Louisa grew so alarmed that he desisted, but kept announcing his opinion in the matter quite forcibly at intervals. "There ain't a better-natured dog in town," he would say, "and it's down-right cruel to keep him tied up there. Some day I'm going to take him out."

Louisa had very little hope that he would not, one of these days, when their interests and possessions should be more completely fused in one. She pictured to herself Ceasar on the rampage through the quiet and unguarded village. She saw innocent children bleeding in his path. She was herself very fond of the old dog, because he had belonged to her dead brother, and he was always very gentle with her; still she had great faith in his ferocity. She always warned people not to go too near him. She fed him on ascetic fare of corn-mush and cakes, and never fired his dangerous temper with heating and sanguinary diet of flesh and bones. Louisa looked at the old dog munching his simple fare, and thought of her approaching marriage and trembled. Still no anticipation of disorder and confusion in lieu of sweet peace and harmony, no forebodings of Ceasar on the rampage, no wild fluttering of her little yellow canary, were sufficient to turn her a hair's-breadth. Joe Dagget had been fond of her and working for her all these years. It was not for her, whatever came to pass, to prove untrue and break his heart. She put the exquisite little stitches into her wedding-garments, and the time went on until it was only a week before her wedding-day. It was a Tuesday evening, and the wedding was to be a week from Wednesday.

There was a full moon that night. About nine o'clock Louisa strolled down the road a little way. There were harvest-fields on either hand, bordered by low stone walls. Luxuriant clumps of bushes grew beside the wall, and trees -- wild cherry and old apple-trees -- at intervals. Presently Louisa sat down on the wall and looked about her with mildly sorrowful reflectiveness. Tall shrubs of blueberry and meadow-sweet, all woven together and tangled with blackberry vines and horsebriers, shut her in on either side. She had a little clear space between them. Opposite her, on the other side of the road, was a spreading tree; the moon shone between its boughs, and the leaves twinkled like silver. The road was bespread with a beautiful shifting dapple of silver and shadow; the air was full of a mysterious sweetness. "I wonder if it's wild grapes?" murmured Louisa. She sat there some time. She was just thinking of rising, when she heard footsteps and low voices, and remained quiet. It was a lonely place, and she felt a little timid. She thought she would keep still in the shadow and let the persons, whoever they might be, pass her.

But just before they reached her the voices ceased, and the footsteps. She understood that their owners had also found seats upon the stone wall. She was wondering if she could not steal away unobserved, when the voice broke the stillness. It was Joe Dagget's. She sat still and listened.

The voice was announced by a loud sigh, which was as familiar as itself. "Well," said Dagget, "you've made up your mind, then, I suppose?"

"Yes," returned another voice; "I'm going day after to-morrow."

"That's Lily Dyer," thought Louisa to herself. The voice embodied itself in her mind. She saw a girl tall and full-figured, with a firm, fair face, looking fairer and firmer in the moonlight, her strong yellow hair braided in a close knot. A girl full of a calm rustic strength and bloom, with a masterful way which might have beseemed a princess. Lily Dyer was a favorite with the village folk; she had just the qualities to arouse the admiration. She was good and handsome and smart. Louisa had often heard her praises sounded.

"Well," said Joe Dagget, "I ain't got a word to say."

"I don't know what you could say," returned Lily Dyer.

"Not a word to say," repeated Joe, drawing out the words heavily. Then there was a silence. "I ain't sorry," he began at last, "that that happened yesterday -- that we kind of let on how we felt to each other. I guess it's just as well we knew. Of course I can't do anything any different. I'm going right on an' get married next week. I ain't going back on a woman that's waited for me fourteen years, an' break her heart."

"If you should jilt her to-morrow, I wouldn't have you," spoke up the girl, with sudden vehemence.

"Well, I ain't going to give you the chance," said he; "but I don't believe you would, either."

"You'd see I wouldn't. Honor's honor, an' right's right. An' I'd never think anything of any man that went against 'em for me or any other girl; you'd find that out, Joe Dagget."

"Well, you'll find out fast enough that I ain't going against 'em for you or any other girl," returned he. Their voices sounded almost as if they were angry with each other. Louisa was listening eagerly.

"I'm sorry you feel as if you must go away," said Joe, "but I don't know but it's best."

"Of course it's best. I hope you and I have got common-sense."

"Well, I suppose you're right." Suddenly Joe's voice got an undertone of tenderness. "Say, Lily," said he, "I'll get along well enough myself, but I can't bear to think -- You don't suppose you're going to fret much over it?"

"I guess you'll find out I sha'n't fret much over a married man."

"Well, I hope you won't -- I hope you won't, Lily. God knows I do. And -- I hope -- one of these days -- you'll -- come across somebody else --"

"I don't see any reason why I shouldn't." Suddenly her tone changed. She spoke in a sweet, clear voice, so loud that she could have been heard across the street. "No, Joe Dagget," said she, "I'll never marry any other man as long as I live. I've got good sense, an' I ain't going to break my heart nor make a fool of myself; but I'm never going to be married, you can be sure of that. I ain't that sort of a girl to feel this way twice."

Louisa heard an exclamation and a soft commotion behind the bushes; then Lily spoke again -- the voice sounded as if she had risen. "This must be put a stop to," said she. "We've stayed here long enough. I'm going home."

Louisa sat there in a daze, listening to their retreating steps. After a while she got up and slunk softly home herself. The next day she did her housework methodically; that was as much a matter of course as breathing; but she did not sew on her wedding-clothes. She sat at her window and meditated. In the evening Joe came. Louisa Ellis had never known that she had any diplomacy in her, but when she came to look for it that night she found it, although meek of its kind, among her little feminine weapons. Even now she could hardly believe that she had heard aright, and that she would not do Joe a terrible injury should she break her troth-plight. She wanted to sound him without betraying too soon her own inclinations in the matter. She did it successfully, and they finally came to an understanding; but it was a difficult thing, for he was as afraid of betraying himself as she.

She never mentioned Lily Dyer. She simply said that while she had no cause of complaint against him, she had lived so long in one way that she shrank from making a change.

"Well, I never shrank, Louisa," said Dagget. "I'm going to be honest enough to say that I think maybe it's better this way; but if you'd wanted to keep on, I'd have stuck to you till my dying day. I hope you know that."

"Yes, I do," said she.

That night she and Joe parted more tenderly than they had done for a long time. Standing in the door, holding each other's hands, a last great wave of regretful memory swept over them.

"Well, this ain't the way we've thought it was all going to end, is it, Louisa?" said Joe.

She shook her head. There was a little quiver on her placid face.

"You let me know if there's ever anything I can do for you," said he. "I ain't ever going to forget you, Louisa." Then he kissed her, and went down the path.

Louisa, all alone by herself that night, wept a little, she hardly knew why; but the next morning, on waking, she felt like a queen who, after fearing lest her domain be wrested away from her, sees it firmly insured in her possession.

Now the tall weeds and grasses might cluster around Ceasar's little hermit hut, the snow might fall on its roof year in and year out, but he never would go on a rampage through the unguarded village. Now the little canary might turn itself into a peaceful yellow ball night after night, and have no need to wake and flutter with wild terror against its bars. Louisa could sew linen seams, and distil roses, and dust and polish and fold away in lavender, as long as she listed. That afternoon she sat with her needle-work at the window, and felt fairly steeped in peace. Lily Dyer, tall and erect and blooming, went past; but she felt no qualm. If Louisa Ellis had sold her birthright she did not know it, the taste of the pottage was so delicious, and had been her sole satisfaction for so long. Serenity and placid narrowness had become to her as the birthright itself. She gazed ahead through a long reach of future days strung together like pearls in a rosary, every one like the others, and all smooth and flawless and innocent, and her heart went up in thankfulness. Outside was the fervid summer afternoon; the air was filled with the sounds of the busy harvest of men and birds and bees; there were halloos, metallic clatterings, sweet calls, and long hummings. Louisa sat, prayerfully numbering her days, like an uncloistered nun.


A New England Nun was featured as The Short Story of the Day on Fri, Mar 08, 2024

A New England Nun is one of the stories featured in our collection of Short Stories for High School II and Feminist Literature - Study Guide


Frequently Asked Questions about A New England Nun

What is "A New England Nun" about?

A New England Nun follows Louisa Ellis, a woman who has spent fourteen years living alone while her fiancé, Joe Dagget, sought his fortune in Australia. During his absence, Louisa has built a peaceful, meticulously ordered life—sewing linen seams, distilling essences from roses and peppermint, eating from her best china daily, and tending to her chained dog Caesar and caged canary. When Joe returns to fulfill their engagement, Louisa realizes that marriage would upend the solitary existence she has come to cherish. After overhearing Joe confess his feelings for another woman, Lily Dyer, Louisa diplomatically releases him from the engagement—choosing her independence and contentment over the conventional path of marriage.

What is the theme of "A New England Nun" by Mary E. Wilkins Freeman?

The central theme is female independence and the right to choose solitude over marriage. In an era when spinsterhood was stigmatized, Louisa Ellis makes the radical decision that her peaceful, self-sufficient life is more valuable than the social respectability of becoming a wife. Freeman also explores the tension between duty and personal desire—both Louisa and Joe feel bound by their fourteen-year-old promise despite having outgrown it. Related themes include the power of routine and domesticity as identity, the fear of change after long isolation, and the quiet courage required to break with social expectations. The story ultimately suggests that fulfillment can be found outside conventional roles, even if that choice appears small or passive to the outside world.

What does the title "A New England Nun" mean?

The title compares Louisa Ellis to a nun who has taken informal vows of solitude, chastity, and devotion—not to a religious order, but to her own domestic rituals and way of life. The final line makes this explicit: "Louisa sat, prayerfully numbering her days, like an uncloistered nun." Unlike a cloistered nun confined behind convent walls, Louisa is "uncloistered"—she has freely chosen her withdrawal from the world. The word "nun" also carries connotations of celibacy and renunciation, reflecting Louisa’s decision to forgo marriage and its physical and social demands. Freeman uses this religious imagery to elevate what might seem like mere spinsterhood into something resembling spiritual vocation.

What do the symbols in "A New England Nun" represent?

Freeman uses several interconnected symbols to mirror Louisa’s inner life. Caesar the dog, chained in his hut for fourteen years after a single youthful bite, parallels Louisa herself—confined by a long-ago promise, harmless but feared, his reputation far exceeding his actual danger. The caged canary that flutters in panic whenever Joe enters the room symbolizes Louisa’s own agitation at the disruption Joe represents. Louisa’s three layered aprons—green gingham over pink-and-white print over white linen—represent the protective layers she wraps around herself, each removed and replaced according to the formality of the occasion. Her best china, used daily despite her neighbors’ disapproval, symbolizes her commitment to living life on her own refined terms. The moonlight in the scene where Louisa overhears Joe and Lily is a traditional symbol of chastity, reinforcing the path Louisa will choose.

Who are the main characters in "A New England Nun"?

Louisa Ellis is the protagonist—a quiet, fastidious woman whose fourteen years of solitude have transformed her into someone who values order, peace, and independence above all else. Joe Dagget is her fiancé, a well-meaning but physically clumsy man who spent fourteen years in Australia making his fortune. Joe is honorable and loyal, but his presence in Louisa’s home feels intrusive—Freeman compares him to "an innocent and perfectly well-intentioned bear" in a "china shop." Lily Dyer is the young woman Joe has fallen in love with during his time back in the village. Described as "tall and full-figured" with "a masterful way which might have beseemed a princess," Lily is everything Louisa is not—bold, robust, and suited to the active life Joe leads. All three characters act with honor, refusing to betray their commitments despite their true feelings.

What happens at the end of "A New England Nun"?

After overhearing Joe and Lily Dyer confess their love for each other—while both insist they will honor Joe’s engagement to Louisa—Louisa uses quiet diplomacy to release Joe from their promise the following evening. She tells him simply that she has "lived so long in one way" that she shrinks from change, never revealing that she knows about Lily. Joe, relieved but moved, tells her: "I think maybe it’s better this way; but if you’d wanted to keep on, I’d have stuck to you till my dying day." They part tenderly. Louisa weeps briefly that night, but wakes the next morning feeling "like a queen who, after fearing lest her domain be wrested away from her, sees it firmly insured in her possession." The story ends with Louisa peacefully sewing at her window, "prayerfully numbering her days, like an uncloistered nun."

Is "A New England Nun" a feminist story?

The story is widely read as a pioneering work of feminist fiction, though Freeman wrote it decades before the term "feminism" entered mainstream use. Louisa’s decision to reject marriage—not out of bitterness or failure, but because she genuinely prefers her autonomous life—was a radical statement in 1891. Freeman presents Louisa’s domestic rituals not as trivial or pathetic but as a source of genuine artistry and satisfaction: she has "almost the enthusiasm of an artist over the mere order and cleanliness of her solitary home." The story challenges the assumption that a woman’s fulfillment must come through marriage and motherhood. At the same time, some scholars debate whether Louisa’s choice represents liberation or a different kind of confinement—a life so narrowed by habit that she cannot imagine change. This ambiguity is part of what makes the story enduringly compelling.

What literary devices does Mary E. Wilkins Freeman use in "A New England Nun"?

Freeman employs several distinctive literary techniques. Symbolism is central—the chained dog, caged canary, and layered aprons all mirror aspects of Louisa’s psychological state. Irony runs throughout: Louisa is "freed" by overhearing a conversation she was never meant to hear, and the story’s most dramatic moment happens not through action but through stillness and eavesdropping. Freeman uses simile memorably when she compares Joe to "an innocent and perfectly well-intentioned bear" after his exit from Louisa’s room, which she likens to a "china shop." The contrast between interior and exterior spaces—Louisa’s ordered home versus the lush, fertile landscape outside—creates a sustained tension between safety and life. Freeman’s local color realism is evident in the precise New England dialect, village customs, and detailed domestic descriptions that ground the story in a specific time and place.

When was "A New England Nun" published?

A New England Nun was first published in Harper’s Bazar in 1887, and then collected as the title story of Freeman’s second major collection, A New England Nun and Other Stories, in 1891. The collection cemented Freeman’s reputation as one of the leading short story writers in America, alongside her earlier collection A Humble Romance and Other Stories (1887). The story appeared during the height of the American Realism and local color movements, and it remains one of the most frequently anthologized works of late nineteenth-century American fiction. It is regularly taught in college courses on American literature, women’s literature, and the short story form.

Why does Louisa Ellis choose not to marry Joe Dagget?

Louisa’s decision stems from a deep attachment to the solitary life she has built over fourteen years, not from any dislike of Joe. During his long absence, she has developed rituals and routines that have become inseparable from her identity—her daily use of fine china, her linen sewing, her distilling of essences, the precise arrangement of every object in her home. She dreads the "coarse masculine presence" that would introduce "dust and disorder" into her "delicate harmony." The overheard conversation between Joe and Lily Dyer gives Louisa the final push she needs, but Freeman makes clear that Louisa’s reluctance predates it: her "first emotion when Joe Dagget came home was consternation." Louisa’s choice is not self-sacrifice but self-preservation—she recognizes that what she would lose in marriage (peace, autonomy, identity) outweighs what she would gain.

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