Lydia Knight's History The First Book of the Noble Women's Lives — Story, Setting & Ideas
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This digital edition of Lydia Knight's History The First Book of the Noble Women's Lives — Story, Setting & Ideas is described by source-level measurements including 27,936 words, 2 hr 2 min estimated reading time, and 3 detected text sections.
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A little girl with light-blue eyes and fair hair sat under the shade of the forest trees pulling a sheep-skin. One by one her brothers and sisters, older and younger than she, had grown weary of the work and wandered off to play.
"Oh, Lydia, how can you sit there over that tiresome work. Look at the shadows under the trees, and the squirrels calling to us to come and chase them from limb to limb. Let's have a play," said the last little boy as his patience at length had ebbed away.
"No," replied the fair-haired maiden, and the firm little mouth took another line of determination as she spoke, "I shall not leave the sheepskin till the last lock is pulled."
A "clearing" in the forest of the western part of New York State, a large comfortable cabin on a rise of ground near the center of the space, with wide-open doors and floors of gleaming white, waving grain on one side of the house and a large vegetable garden on the other side constituted the scene of a home in the forest wilds, which was a common one in those days--the years between 1810 and 1820. The circle of high waving trees gave a grandeur and beauty to the view that nothing else could possibly do.
The little girl who sat so steadily at work had been brought by her parents two years previously to this wild western home.
She was born in 1812, in Sutton, Worcester Co., Mass., and eight happy years had been spent in her earliest home.
Shall I tell you about her father, whose name was Jesse Goldthwait? He was a medium-sized, well-built New Englander, prudent, industrious and the possessor of a firm will. Her mother was a quiet-spoken woman, but she bad an ardent temperament and a great deal of natural refinement. She had had some scholastic advantages and was exceedingly ambitious for her children. Five sisters and six brothers had Lydia, and a very happy and peaceful family they were.
Don't you know what "wool-pulling" is? Well, while my little girl is finishing her work I will tell you:
When the sheep was killed for family use, the skin was rolled up by the thrifty farmers in ashes or lime and laid away for some time. Then the wool could easily be separated from the hide. This last piece of labor generally fell to the children. And in Jesse Goldthwait's family none of the children would keep to the work but Lydia. So that it soon passed into a proverb, when Lydia exhibited that determination in anything which was so striking a point in her character, they would say to each other:
"It's no use trying to make her give up her design. You know Lydia never leaves till the last lock is pulled."
The years passed on and Lydia grew apace. But as she attained to early womanhood, she did not lose the slender form, the quiet voice she had inherited from her mother, or the firm will her father had bequeathed to her. She was brought up to habits of work and she had also received religious training from her parents.
When the girl was about fifteen years old, a council was held concerning her by her father and mother:
"Let us send the girl to school, father: you are comfortable for means, and Lydia is a good, obedient girl."
"That she is," replied the father, "and studiously inclined. I will think it over, mother."
After some deliberation, a boarding-school was chosen, and the girl placed under proper care.
Who cannot fancy the life of a school-girl of fifteen? Happy, careless as to the future, mindful of the husking-bees and quiltings, and with bright, shy glances for the youths who begin to "wish to see you home."
Among Lydia's acquaintances in the village where she was attending school, was a young man whose name was Calvin Bailey. One who was a stranger in the village, but his smart, dapper ways, and his smooth address won him many friends among the thoughtless, the youth and the pleasure-loving of the villagers.
"He is _so_ nice," said the girls.
"Calvin is the right sort of a fellow for a frolic," added the young men.
Lydia admired the young man in common with the rest of her companions, and was far too young, too much of a child to dread the very smoothness which so often covers a wicked heart.
The Winter passed into Spring and Lydia returned to her home.
That Summer in her happy home was one long to be remembered by the girl who was fast hastening to so different an experience in life.
The opening scene of Lydia Knight's History places a determined eight-year-old girl pulling a sheepskin under forest trees while her siblings play. The narrator, writing under the pseudonym 'Homespun,' immediately establishes Lydia's character through a firm little mouth and a refusal to abandon her task. This small domestic vignette, set in a clearing in western New York between 1810 and 1820, introduces a biography that intertwines personal resolve with the collective trials of early Latter-day Saints.
The book is the first in the Noble Women's Lives Series, published by the Juvenile Instructor Office in 1883. Its preface frames the work as both entertaining and instructive for youth, aiming to stimulate emulation of faithful examples. The catalog subjects list Lydia Knight as a Latter-day Saint biography, but the excerpts reveal a narrative that also functions as a record of persecution, migration, and community memory.
A Child's Determination and a Family Portrait
The biography opens with a detailed description of Lydia's childhood home: a comfortable cabin on a rise of ground, with gleaming white floors, waving grain, and a vegetable garden. The forest circle gives grandeur and beauty to the view. Lydia, born in 1812 in Sutton, Massachusetts, was brought to this wild western home two years prior. Her father, Jesse Goldthwait, is described as a medium-sized, well-built New Englander, prudent, industrious, and firm-willed. Her mother, a quiet-spoken woman with an ardent temperament and natural refinement, had some scholastic advantages and was exceedingly ambitious for her children. Lydia had five sisters and six brothers, forming a very happy and peaceful family.
The narrative voice directly addresses the reader—'Shall I tell you about her father?'—creating an intimate, instructional tone consistent with the series' aim to stimulate youth. The opening scene of Lydia alone at work, refusing to join her siblings at play, establishes a motif of steadfastness that recurs throughout the excerpts.
Witnessing Martyrdom and Its Aftermath
The excerpts jump to 1844, when a little girl is born to Lydia on June 6. As she recovers, rumors intensify that blood-hounds are again seeking the Prophet's life. Joseph Smith gives himself up on June 24, and the narrative of the murder on June 27 is deemed too ghastly to give in this little story. Lydia is too weak and overcome with grief to attend the burial services. Mourning fills the city, but over all broods the spirit of Christ.
A year later, Newel and Lydia visit the jail where the murder occurred. The jailor's wife shows them the room, pointing out bloodstains that reappear after scrubbing and bullet holes that plasterers cannot fill. The woman speaks with trembling horror. Newel and Lydia leave hastily, too overcome to remain. This episode, rendered through the jailor's wife's testimony, illustrates how the biography incorporates supernatural elements—the persistent stains and scars—as evidence of the tragedy's enduring mark.
The Decision to Flee Westward
By summer 1845, mob violence escalates. Saints outside Nauvoo are abused, their houses and barns burned. Lydia wonders if she will again be driven from her comforts. One evening Newel returns from council with a sad face. He reports that Brigham Young and the council have decided to turn their faces westward and flee into the wilderness. Lydia responds, 'If it be so, Newel, it will ill become us to murmur.'
The biography here condenses complex historical events into a personal moment of acceptance. Lydia's role as caretaker is also evident: she takes in two orphan girls named Ames during the winter of 1845. The narrator notes that from Lydia's first home in Missouri until the present, her home has been a peaceful asylum for homeless children. This detail aligns with the catalog subject of Latter-day Saint biography but also reveals a pattern of hospitality that the excerpts present as a defining trait.
Readers should note that the excerpts cover only the early and middle portions of Lydia's life, ending before the westward migration is completed. The biography's structure alternates between domestic scenes and historical crises, with the narrator often addressing the audience directly. The catalog subjects accurately reflect the religious context, but the excerpts also show attention to material details—sheepskin, cabin floors, bloodstains—that ground the narrative in sensory experience. This is not a comprehensive history but a selective portrait designed for youthful edification.
That rainy afternoon, I kept returning to Lydia’s quiet endurance, the way belief carried her through snow and loss. Afterwards, I found myself wondering about other stubborn beginnings, other winters. Somehow that led me to Montreal, 1535-1914. Vol. 1. Under the French Régime, 1535-1760 — Background and Themes, where a different frontier, all river and fort, held its own trembling hopes.
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