St. George and St. Michael, Volume 3 — Background and Themes
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This digital edition of St. George and St. Michael, Volume 3 — Background and Themes is described by source-level measurements including 61,469 words, 4 hr 28 min estimated reading time, and 7 detected text sections.
The text analysis averages about 20.6 words per sentence, while the detected sections provide another way to judge how the source is divided.
Project Gutenberg metadata also associates the work with “Great Britain -- History -- Civil War, 1642-1649 -- Fiction,” connecting these edition facts with the source record’s subject description.
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- Title & short description10 pts
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CHAPTER XXXIX. NEWBURY.
CHAPTER XL. DOROTHY AND ROWLAND.
CHAPTER XLI. GLAMORGAN.
CHAPTER XLII. A NEW SOLDIER.
CHAPTER XLIII. LADY AND BISHOP.
CHAPTER XLIV. THE KING.
CHAPTER XLV. THE SECRET INTERVIEW.
CHAPTER XLVI. GIFTS OF HEALING.
CHAPTER XLVII. THE POET-PHYSICIAN.
CHAPTER XLVIII. HONOURABLE DISGRACE.
CHAPTER LI. UNDER THE MOAT.
CHAPTER LII. THE UNTOOTHSOME PLUM.
CHAPTER LIII. FAITHFUL FOES.
CHAPTER LIV. DOMUS DISSOLVITUR.
CHAPTER LVI. RICHARD AND CASPER.
CHAPTER LVII. THE SKELETON.
CHAPTER LVIII. LOVE AND NO LEASING.
CHAPTER LIX. AVE! VALE! SALVE!
Early the next morning, after Richard had left the cottage for Raglan castle, mistress Rees was awaked by the sound of a heavy blow against her door. When with difficulty she had opened it, Richard or his dead body, she knew not which, fell across her threshold. Like poor Marquis, he had come to her for help and healing.
When he got out of the quarry, he made for the highroad, but missing the way the dog had brought him, had some hard work in reaching it; and long before he arrived--at the cottage, what with his wound, his loss of blood, his double wetting, his sleeplessness after mistress Watson's potion, want of food, disappointment and fatigue, he was in a high fever. The last mile or two he had walked in delirium, but happily with the one dominant idea of getting help from mother Rees. The poor woman was greatly shocked to find that the teeth of the trap had closed upon her favourite and mangled him so terribly. A drop or two of one of her restoratives, however, soon brought him round so far that he was able to crawl to the chair on which he had sat the night before, now ages agone as it seemed, where he now sat shivering and glowing alternately, until with trembling hands the good woman had prepared her own bed for him.
'Thou hast left thy doublet behind thee,' she said, 'and I warrant me the cake I gave thee in the pouch thereof! Hadst thou eaten of that, thou hadst not come to this pass.'
But Richard scarcely heard her voice. His one mental consciousness was the longing desire to lay his aching head on the pillow, and end all effort.
Finding his wound appeared very tolerably dressed, Mrs. Rees would not disturb the bandages. She gave him a cooling draught, and watched by him till he fell asleep. Then she tidied her house, dressed herself, and got everything in order for nursing him. She would have sent at once to Redware to let his father know where and in what condition he was, but not a single person came near the cottage the whole day, and she dared not leave him before the fever had subsided. He raved a good deal, generally in the delusion that he was talking to Dorothy--who sought to kill him, and to whom he kept giving directions, at one time how to guide the knife to reach his heart, at another how to mingle her poison so that it should act with speed and certainty.
At length one fine evening in early autumn, when the red sun shone level through the window of the little room where he lay, and made a red glory on the wall, he came to himself a little.
'Is it blood?' he murmured. 'Did Dorothy do it?--How foolish I am! It is but a blot the sun has left behind him!--Ah! I see! I am dead and lying on the top of my tomb. I am only marble. This is Redware church. Oh, mother Rees, is it you! I am very glad! Cover me over a little. The pall there.'
His eyes closed, and for a few hours he lay in a deep sleep, from which he awoke very weak, but clear-headed. He remembered nothing, however, since leaving the quarry, except what appeared a confused dream of wandering through an interminable night of darkness, weariness, and pain. His first words were,--
'I must get up, mother Rees: my father will be anxious about me. Besides, I promised to set out for Gloucester to-day.'
She sought to quiet him, but in vain, and was at last compelled to inform him that his father, finding he did not return, had armed himself, mounted Oliver, and himself led his little company to join the earl of Essex--who was now on his way, at the head of an army consisting chiefly of the trained bands of London, to raise the siege of Gloucester.
The excerpts from this third volume show a narrative that dwells on the physical and psychological toll of war rather than its grand strategies. Richard's return to mistress Rees's cottage, delirious and mangled by a trap, is rendered with clinical attention to his fever, shivering, and the practical nursing that follows. The catalog subject 'Great Britain -- History -- Civil War, 1642-1649' might suggest a sweeping historical canvas, but the text concentrates on a single wounded man and the quiet heroism of a woman who 'tidied her house, dressed herself, and got everything in order for nursing him.'
Later, at Raglan Castle, the siege preparations are shown through Dorothy's meticulous oversight of a fire-engine and the counting of horses—eighty, not seventy-nine—as they are led out to graze. The war is present not as battles but as shortages, discipline, and the constant threat of news that makes ladies 'look pale.'
Wounds and Nursing
The opening excerpt presents Richard's injury not as a heroic wound but as a messy, feverish collapse. He arrives at the cottage 'shivering and glowing alternately,' and mistress Rees's care is described in methodical steps: a restorative, a cooling draught, watching until he sleeps. The text notes that his wound 'appeared very tolerably dressed'—a detail that avoids melodrama and emphasizes practical assessment. His delirium centers on Dorothy, who 'sought to kill him,' hinting at personal conflict amid the larger war. The narrative stays close to the physical: the trap's teeth, the loss of blood, the double wetting. There is no grand speech about duty or cause; instead, the focus is on survival and the domestic space as a site of healing.
Dorothy's Quiet Authority
Dorothy emerges as a figure of unobtrusive command during the siege. She feels 'a sense of trust and delegation, outwardly unauthorised,' and acts as if she and Caspar are 'the special servants of the absent power.' Her actions are noiseless: she keeps open eyes, speaks and reminds and remedies, so that none are offended. The text specifies that her words come to be 'listened to almost as if it had been a message from Glamorgan.' Her chief business is the fire-engine, whose machinery she anxiously watches. This is not a conventional heroine's role; it is grounded in mechanical vigilance and the threat of being 'driven into the tower.' The narrative gives weight to her counting of horses—eighty, not seventy-nine—a small discrepancy that becomes a point of tension.
Siege as Routine and Anxiety
The castle's preparation for siege is depicted through mundane logistics: the overhauling of the armoury, the drilling of the garrison, the turning out of horses for 'a last bellyful of sweet grass.' The marquis's dry humor—'Have they brought provender with them?'—underscores the scarcity. The postern gate is used for a practical purpose, and the horses are counted with care. Yet the atmosphere is charged with anxiety: 'The ladies began to look pale as often as they saw two persons talking together.' The war is felt in the absence of Glamorgan, whose presence would have made the castle 'impregnable.' The narrative resists glorifying the siege; instead, it shows a community holding together through small, repeated actions.
Readers approaching this volume should expect a story that moves between intimate physical suffering and the collective strain of a siege, with little interest in battlefield panoramas. The excerpts reward attention to small details—the number of horses, the state of bandages, the condition of the fire-engine—as these carry the emotional and narrative weight. The catalog subject 'Civil War' is present but filtered through individual perception and domestic routine.
The rain tapped at the windows that afternoon, and I found myself lingering over Richard’s fevered stillness, the way endurance shapes a person more quietly than any siege. That led me, almost by accident, to a gentler companion, a far-from-battlefield Oxford jaunt: The Adventures of Mr. Verdant Green — Reading Companion. Different weather, but the same odd comfort in watching someone simply get through.
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