The Broad Highway — Reading Notes
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Project Gutenberg metadata also associates the work with “Kent (England) -- Fiction,” connecting these edition facts with the source record’s subject description.
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Read the Text
nds, now vested in the funds, shall be paid to either Maurice or Peter Vibart aforesaid, if either shall, within one calendar year, become the husband of the Lady Sophia Sefton of Cambourne.'"
"Good God!" exclaimed Sir Richard.
"'Failing which,'" read Mr. Grainger, "'the said sum, namely, five hundred thousand pounds, shall be bestowed upon such charity or charities as the trustees shall select. Signed by me, this tenth day of April, eighteen hundred and—, GEORGE VIBART. Duly witnessed by ADAM PENFLEET, MARTHA TRENT."'
Here Mr. Grainger's voice stopped, and I remember, in the silence that followed, the parchment crackled very loudly as he folded it precisely and laid it on the table before him. I remember also that Sir Richard was swearing vehemently under his breath as he paced to and fro between me and the window.
"And that is all?" I inquired at last.
"That," said Mr. Grainger, not looking at me now, "is all."
"The Lady Sophia," murmured Sir Richard as if to himself, "the Lady Sophia!" And then, stopping suddenly before me in his walk, "Oh, Peter!" said he, clapping his hand down upon my shoulder, "oh, Peter, that settles it; you're done for, boy—a crueller will was never made."
"Marriage!" said I to myself. "Hum!"
"A damnable iniquity," exclaimed Sir Richard, striding up and down the room again.
"The Lady Sophia Sefton of Cambourne!" said I, rubbing my chin.
"Why, that's just it," roared the baronet; "she's a reigning toast—most famous beauty in the country, London's mad over her—she can pick and choose from all the finest gentlemen in England. Oh, it's 'good-by' to all your hopes of the inheritance, Peter, and that's the devil of it."
"Sir, I fail to see your argument," said I.
"What?" cried Sir Richard, facing round on me, "d'you think you'd have a chance with her then?"
"Without friends, position, or money? Pish, boy! don't I tell you that every buck and dandy—every mincing macaroni in the three kingdoms would give his very legs to marry her—either for her beauty or her fortune?" spluttered the baronet. "And let me inform you further that she's devilish high and haughty with it all—they do say she even rebuffed the Prince Regent himself."
"But then, sir, I consider myself a better man than the Prince Regent," said I.
Sir Richard sank into the nearest chair and stared at me openmouthed.
"Sir," I continued, "you doubtless set me down as an egoist of egoists. I freely confess it; so are you, so is Mr. Grainger yonder, so are we all of us egoists in thinking ourselves as good as some few of our neighbors and better than a great many."
"Deuce take me!" said Sir Richard.
"Referring to the Lady Sophia, I have heard that she once galloped her horse up the steps of St. Paul's Cathedral—"
"And down again, Peter," added Sir Richard.
"Also she is said to be possessed of a temper," I continued, "and is above the average height, I believe, and I have a natural antipathy to termagants, more especially tall ones."
"Termagant!" cried Sir Richard. "Why, she's the handsomest woman in London, boy. She's none of your milk-and-watery, meek-mouthed misses—curse me, no! She's all fire and blood and high mettle—a woman, sir—glorious—divine—damme, sir, a black-browed goddess—a positive plum!"
"Sir Richard," said I, "should I ever contemplate marriage, which is most improbable, my wife must be sweet and shy, gentle-eyed and soft of voice, instead of your bold, strong-armed, horse-galloping creature; above all, she must be sweet and clinging—"
"Sweet and sticky, oh, the devil! Hark to the boy, Grainger," cried Sir Richard, "hark to him—and one glance of the glorious Sefton's bright eyes—one glance only, Grainger, and he'd be at her feet—on his knees—on his confounded knees, sir!"
"The question is, how do you propose to maintain yourself in the future?" said Mr. Grainger at this point; "life under your altered fortunes must prove necessarily hard, Mr. Peter."
"And yet, sir," I answered, "a fortune with a wife tagged on to it must prove a very mixed blessing after all; and then again, there may be a certain amount of satisfaction in stepping into a dead man's shoes, but I, very foolishly, perhaps, have a hankering for shoes of my own. Surely there must be some position in life that I am competent to fill, some position that would maintain me honorably and well; I flatter myself that my years at Oxford were not altogether barren of result—"
"By no means," put in Sir Richard; "you won the High Jump, I believe?"
"Sir, I did," said I; "also 'Throwing the Hammer.'"
The novel begins not with a highwayman's pistol but with a philosophical dispute over fried bacon. The narrator, sitting under a tree, tells a tinker he wants to write a book about roads, trees, and country inns. The tinker objects: trees are dull, but a highwayman, a pugilist, a one-legged soldier, and a tinker—those are interesting. He advises adding love and a little blood. This frame establishes the narrator as a self-conscious storyteller, one who will weave adventure from ordinary materials.
The tinker, who peddles books and calls himself a 'literary cove,' becomes a character in the tale he helps shape. The opening thus signals that the novel is aware of its own conventions, mixing rustic realism with the promise of melodrama.
A Blacksmith's Quiet Authority
The middle excerpt finds the narrator, Peter, in a smithy, confronted by a distraught Prudence. She shows him a letter from Black George, who threatens violence. Peter's response is measured: he does not panic or rage. Instead, he asks Prudence if she loves George, and when she admits it, he dictates a reply: 'George, I love you.' He then unbuckles his leather apron and sets out to find George, despite Prudence's pleas that George will kill him.
Peter's calmness is striking. He speaks in short, deliberate sentences—'Excellent!' and 'I don't think he will'—and treats the crisis as a problem to be solved. His authority comes not from strength but from a kind of moral clarity. He has been trying to bring the lovers together all along. The scene is a study in understated heroism: a blacksmith who uses words and patience rather than fists.
The Language of Restraint and Emotion
Farnol's prose in these excerpts is notable for its restraint. When Prudence hides her face, Peter observes her 'cheeks, that had seemed hitherto more pale than usual, grow suddenly scarlet.' The physical detail carries the emotional weight. Dialogue is spare: Prudence says 'You must go away—you must go away!' and Peter replies 'Hum!'—a single syllable that conveys thought, sympathy, and resolve.
The love letter scene is handled with similar economy. Prudence writes four words—'George, I love you'—while 'blushing a little, and sighing a little, and crying a little.' The repetition of 'a little' softens the moment, making it tender rather than theatrical. Farnol trusts the reader to feel the emotion beneath the simple actions.
Setting as a Character: The Kentish Landscape
The novel's title, The Broad Highway, points to the importance of place. The opening scene is set under a tree on a summer morning, with the narrator eating bacon and talking to a tinker. The tinker's advice—to include a highwayman, a flight through woods at midnight—frames the landscape as a stage for adventure. Kent, the catalog subject, is not just a backdrop but a source of the novel's texture: roads, by-roads, inns, and solitary places.
In the smithy scene, the anvil serves as a desk for writing a love letter. The setting is functional but evocative: the leather apron, the coat on its peg, the snowy apron Prudence wears. These details ground the emotional drama in a tangible world. The reader is never far from the physical reality of the blacksmith's trade.
A First Reading: Following the Threads
For a first-time reader, the excerpts offer three threads to follow. First, the frame: the narrator who appears in the opening as a writer may reappear or recede; the tinker's advice may or may not be fulfilled. Second, the love triangle: Peter, Prudence, and Black George are entangled in a way that promises both violence and resolution. Third, the tone: Farnol balances rustic humor with genuine pathos, and the reader should watch for shifts between these registers.
The excerpts do not reveal the outcome of Peter's search for George, nor do they show the highwayman or the flight through woods. The novel's 154,000 words suggest many more complications. The reader's task is to see how the quiet authority of the blacksmith holds against the 'tang' of blood the tinker wanted.
These excerpts reveal a novel that is self-aware about storytelling, attentive to emotional nuance, and rooted in a specific landscape. The tinker's demand for adventure is balanced by Peter's quiet method of resolving conflict. A first reading might profitably attend to how Farnol manages this balance—how the broad highway of the title becomes both a literal road and a narrative path between melodrama and restraint.
Years of shelving these things teach you how a book breathes. The Broad Highway has that Kentish patience, a quiet fellow whose strength shows in stillness. I feel that same unhurried temper when I hold The Flyers — Edition Insights—both understand that some journeys are measured not in miles, but in the steadiness of a heart kept.
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