The Twelfth Hour — A Reader’s Guide
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Read the Text
Felicity was a lovely little blonde creature about twenty-five years old, dressed in a floating Watteau-like garment of vaporous blue, painted with faded pink roses. She was seated in a large carved and gilded chair, opposite an excessively Louis-Quinze mirror, while her pale golden hair was being brushed out by a brown, inanimate-looking maid. Her little oval face, with its soft cloudy hair growing low on the forehead, long blue eyes, and rosebud mouth, had something of the romantic improbability of an eighteenth-century miniature. From the age of two Felicity had been an acknowledged beauty. She profited by her grasp of this fact merely by being more frank than most charming people, and more natural than most disagreeable ones. With little self-consciousness, she took a cool sportsmanlike pleasure in the effect she produced, and perhaps enjoyed the envy and admiration she had excited in her perambulator in Kensington Gardens almost as much as her most showy successes in later life.
The most effective of these (so far) had been her marriage. Hopelessly bowled over, as he called it, by her detailed loveliness, and not even frightened by her general brilliance, Lord Chetwode had insisted on her making the match of the previous season. He was a good-looking, amiable, and wealthy young man, who was as lavish as if he had not had a penny, and who showed his extravagantly long descent chiefly by being (for a racing man) rather eccentrically interested in the subject of decoration.
He was an owner of racehorses and a collector of curiosities, and these tastes gave him certain interests apart from his wife. He was, however, very much in love with her, and showed it chiefly by writing her nearly every day long, elaborate, and conspicuously illegible love-letters. She was not an expert in handwriting, nor had she time or patience to decipher them. So she merely treasured them (unread) in a green and white striped silk box. For under all her outward sentimentality, Felicity was full of tenderness, especially for her husband. This was not surprising, for he was a most agreeable companion, a great friend, quite devoted to her, to his pretty home in London, and his picturesque old house in the country, from all of which, however, he was as a rule markedly absent. If one asked after Chetwode, the answer was nearly always that he was away.
He had chosen every detail of the house in Park Street with a patience worthy of his passion. In the bedroom, especially, not a concession was made, not a point stretched. All was purest Louis-Quinze. But in spite of this, and amidst all her tapestry and old French furniture, Felicity had a very contemporary air. About everything was the recent look characteristic of the home of a lately married couple. The room looked as if it had been decorated the day before for a twentieth-century Madame de Pompadour. But, if the background was almost archaeological, the atmosphere was absolutely modern. In this incongruity was a certain fascination.
Though the bridal freshness still lingered, a more wilful element was also observable. Invitation-cards, race-cards, the _Daily Mail_, magazines, English and French novels, and cigarettes were freely scattered about, and an expert would have seen at a glance that the dresses lying in every direction could not have formed part of any trousseau. They had obviously been chosen with (or against) the advice of Lord Chetwode.
Savile sat down on a pink curved sofa, and said definitely--
"Look here, Felicity, I want to speak to you."
"Does Chetwode know what's going to win the Cambridgeshire?"
"How can he know, darling? Would it be fair? Of course he has some vague _idea_. Candid Friend he said was the favourite. He says it's a certainty. But _his_ certainties! (Everett, look out. You've been overdoing the waving lately. Remember how careful I have to be not to look like a wax-doll in a hair-dresser's shop ... with _my_ complexion)! Go on, Savile,--what's the party going to be like?"
"Like nothing on earth, my dear, as usual. One of the governor's baffling entertainments."
"Well, I don't care what people say, Savile! I think papa's parties are the greatest fun one can get anywhere. It's a wonderful mixture,--a sort of Russian salad. How exciting it is, for instance, never being quite sure whether one is going to be taken to dinner by--Lord Rosebery, or--Little Tich!"
"As it happens, my dear, they've both refused," said Savile ironically.
"Oh, Savile, don't be funny when I've no time to laugh. Do you deny papa's peculiar talent for celebrities? Is De Valdez coming?"
"The Spanish composer? Oh, rather! He's coming over about his new opera. He's all right. At least, I bear him rather, but girls like him."
The novel opens with sixteen-year-old Savile breezing past his sister Felicity's butler and entering her dressing room uninvited, despite her protest. This small scene establishes a pattern: characters routinely ignore stated boundaries, and Felicity's domain—a Louis-Quinze mirror, a floating Watteau-like gown, a maid brushing pale golden hair—is a stage where social performance and genuine feeling blur. Leverson's dialogue carries the action; the butler's shift from 'correct impassibility' to 'patronising old retainer' signals a world where class roles are both observed and undercut.
Later, Vera Ogilvie recounts a strained encounter with Captain Henderson: she delivers a line 'like some one in a play,' he responds by asking for a drink. The gap between Vera's romantic script and Henderson's mundane practicality becomes a running joke. Felicity, by contrast, reads situations with dry precision—'It showed he was thirsty'—and her laughter at Vera's self-dramatizing questions reveals a central tension between performed emotion and actual feeling.
The Comedy of Misread Signals
Vera Ogilvie's account of Captain Henderson's visit is a masterclass in mismatched expectations. She stages the scene carefully—yellow gown, amber beads, pink-shaded lights—and delivers what she considers a 'strong line': 'Do you dislike me, Captain Henderson?' His reply—'If I did, I shouldn't be here'—is neither declaration nor dismissal, but a deflection she cannot parse. When she presses for his 'real opinion,' he calls her 'a bit dotty on some subjects,' then clarifies that he meant 'artistic.' The word choice matters: 'dotty' belongs to the vocabulary of everyday irritation, not romantic intrigue.
Felicity's analysis punctures Vera's narrative: she notes that Henderson's excuse for missing dinner—'going out of town'—is either a lie or a genuine trip to Newmarket. The comedy lies in Vera's refusal to accept that his motives might be simple. She wants to believe he is 'going away to try and conquer his feelings'; Felicity knows he is likely avoiding a boring dinner. The episode reveals a pattern: characters speak past each other, and the reader is invited to see what the speakers cannot.
Felicity's Controlled Domain
Felicity's dressing room is the novel's first setting, and it is described with precise material detail: a 'large carved and gilded chair,' an 'excessively Louis-Quinze mirror,' a 'floating Watteau-like garment of vaporous blue, painted with faded pink roses.' These objects are not mere decoration; they signal Felicity's taste and her ability to manage appearances. She warns Savile not to 'tread on my dresses' and tells him he 'mustn't sit down on a perfectly new hat.' Her authority is exercised through such small, practical commands.
When Vera telephones to recount her romantic troubles, Felicity listens with amusement but offers no false comfort. She laughs at Vera's 'fine speech' and dismisses the idea that Henderson's behaviour indicates passion. Her own marriage is not discussed in the excerpts, but her role as confidante—patient, ironic, slightly detached—positions her as the emotional realist of the group. She does not scold or moralize; she simply observes that Bertie Wilton 'likes people best who don't run after him.' This quiet pragmatism contrasts sharply with Vera's theatrical self-regard.
The Rhythm of Social Talk
Leverson's dialogue moves in quick, overlapping exchanges that mimic the rhythm of Edwardian drawing-room conversation. Characters interrupt, repeat, and correct each other. When Vera says she 'took a very strong line,' Felicity's immediate response is not to ask what she said, but 'What were you wearing?' The question is both a joke and a serious inquiry: in this world, costume is part of the script.
The talk circles around the same subjects—who called, what was said, what it meant—without ever reaching a conclusion. Vera asks 'Do you think that shows great admiration—or not?' and Felicity answers with a deflating comparison: 'It's the sort of thing Savile would say to me.' The effect is cumulative: the reader learns to hear the gap between what characters want to believe and what the dialogue actually reveals. The novel's comedy depends on this gap, and on the reader's growing ability to detect it before the characters do.
Readers should attend to the way Leverson uses clothing, setting, and gesture as indirect commentary. A hat that cannot be sat upon, a gown chosen for its effect under pink lights, a butler's 'harsthma'—these details carry as much weight as the dialogue. The novel rewards attention to what is not said: the pause before a reply, the choice of a drink over a declaration. The title 'The Twelfth Hour' suggests a deadline, but the excerpts show a world where time is spent in postponement and misdirection.
There is a particular ache in The Twelfth Hour — A Reader’s Guide, the way Felicity holds her bright Edwardian poise while her heart quietly turns elsewhere. It put me in mind of that roving optimism in Colorado Jim — Background and Themes, where wide-open spaces soften even the most tangled intentions. Both feel less like plots and more like weather—shift, settle, and leave a trace.
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