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Mortals that would follow me, Love Virtue, she alone is free, She can teach ye how to climb Higher than the
sphery chime; Or if Virtue feeble were, Heaven itself would stoop to her.
Like each of the three previous books and like her next novel, Phosphor in Dreamland, The Jade Cabinet unfolds in a series of journal entries and recollections from two different characters--Memory Sphery and Radulph Tubbs.
As Memory explains at the end of the novel, "if, as our father Angus Sphery believed, there exists a Divine Tongue capable of bringing all things into being, the opposite is also true.
In The Jade Cabinet, power at its most naked is the focus, beginning with a Victorian father, Angus
Sphery, who is fascinated with the origins of language and airily experiments with his newborn baby, Etheria: He shuts her off from language and she grows up mute.
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When I think of the Hungerkunstler, I cannot help but think of Angus Sphery's study, that magical place where, little girls, Etheria and I spent so many happy hours.
But what is hardest to tell, and what shows above all else the piteous colouration our father's mind had taken: he sold the jade: the cane pommel once the pride of his youth; the cicada from Tubbs's cabinet and the chimera too; sold the earrings he had given to our mother, Margaret Sphery, to celebrate Etheria's birth!
Had his own devastation been less terrible, I know I should have hated Angus Sphery; as it was I could not.
The embodiments of this dichotomy are Etheria, the beautiful daughter of Professor Angus Sphery, a mid-nineteenth-century Oxford don, and Radulph Tubbs, an industrialist.
Angus Sphery is an eccentric polymath convinced that all known languages are corruptions of the language of Eden.