The first story, “A Shepherdess of Fauns,” introduces Archie Lethbridge, a painter who has just sold a big picture and become engaged to the eminently eligible Gwendolen Gould. The narrator describes Archie as “the fine flower of propriety,” a man who holds “exceedingly rigid views on the subject of his womenkind.” Yet the story’s setting in Provence, with its hint of the bizarre, immediately undercuts his settled attainment. The opening establishes a pattern: outwardly conventional characters are placed in landscapes or situations that disturb their composure.

In the second excerpt, from a later story, the protagonist Sophia stands on a terrace with a sundial without a hand, feeling “physically sick” at the sight of a letter. The contrast between the serene setting and her visceral reaction—hands shaking, nausea—signals that Jesse’s interest lies in the gap between surface calm and inner turmoil.

A Painter’s Propriety and Its Discontents

Archie Lethbridge’s contentment is built on control: he has sold a picture, planned a one-man show, and secured a fiancée who “could be relied upon never to do, say, or think an unusual thing.” The narrator’s tone is wryly critical, noting that Archie’s wild oats are just enough to “save him from inferiority in the society of his fellow-men.” His name, which he hopes to adorn with “coveted letters,” is safe with Gwendolen. Yet the story’s title—and the fauns of Provence—suggest that the irrational will intrude. The excerpt ends with Archie “totally unprepared for any bizarre or inexplicable event,” a clear signal that such an event is imminent.

Sophia’s Physical Memory

The later excerpt centers on Sophia, a writer who has come to Italy after the success of her first book. She meets a painter twenty years her senior, and their minds “chimed from the first.” But the relationship is shadowed by a physical attraction she cannot reciprocate: “to the average woman the term ‘physical attraction’ is so meaningless that she stared in uncomprehension.” Jesse renders Sophia’s distress in bodily terms—a “deadly nausea,” a hand going to her throat, shaking hands. The terrace with its handless sundial becomes an emblem of time stopped, of a moment of crisis that refuses to pass.

The Structure of Recollection

Sophia’s section is structured as a flashback: “On looking back the whole time seemed set in a clear, sunlit atmosphere of its own.” The narrative shifts between her present agony on the terrace and the remembered weeks in Florence. This temporal layering is a key device in the collection. The reader is placed inside a consciousness that is both experiencing and analyzing. Sophia notes that while with him she felt peace, but “only having sensations of her own when they were apart.” The story traces how pity and intellectual sympathy can lead to unwitting temptation, a theme that recurs across the volume.

Recurring Motifs: Letters, Landscapes, and the Body

Both excerpts feature letters as objects of emotional charge. For Archie, a letter from Gwendolen would be reassuring; for Sophia, a letter from her lover induces physical sickness. The landscapes—Provence, the Alpes Maritimes, the terrace overlooking olive trees—are described with precise sensory detail: olive trees “like nothing so much as clouds of dust puffing up from the ground.” Jesse uses setting to mirror inner states. The sundial without a hand, the “magic sphere” of memory, the “clear, sunlit atmosphere” of the past—these images recur, suggesting that the collection as a whole is concerned with how place and time become saturated with emotion.

These excerpts suggest that Beggars on Horseback rewards attention to its psychological nuance and physical detail. The stories are arranged chronologically, so the reader can trace how Jesse’s treatment of desire, memory, and constraint develops. The opening story’s ironic tone gives way to the more visceral intensity of Sophia’s narrative. Readers may find it useful to note how each story establishes a conventional surface—a painter’s success, a writer’s friendship—before revealing the disruptive currents beneath.