The Crisis — Volume 04 — Story, Setting & Ideas

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Churchill, Winston, 1871-1947 Project Gutenberg 2004 Not confirmed
United States -- History -- Civil War, 1861-1865 -- Fiction Readers of public-domain and historical texts
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Words 28,538
Reading time 125 min
Text sections 3

This digital edition of The Crisis — Volume 04 — Story, Setting & Ideas is described by source-level measurements including 28,538 words, 2 hr 5 min estimated reading time, and 3 detected text sections.

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In Volume 4 of Winston Churchill's Civil War novel, Stephen Brice practices law in St. Louis while political conventions and a royal visit unfold. The narrative jumps ahead two years, blending historical figures like Stephen Douglas with fictional social scenes, including a ball with the Prince of Wales.
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This was the summer when Mr. Stephen Brice began to make his appearance in public. The very first was rather encouraging than otherwise, although they were not all so. It was at a little town on the outskirts of the city where those who had come to scoff and jeer remained to listen.

In writing that speech Stephen had striven to bear in mind a piece of advice which Mr. Lincoln had given him. "Speak so that the lowest may understand, and the rest will have no trouble." And it had worked. At the halting lameness of the beginning an egg was thrown,--fortunately wide of the mark. After this incident Stephen fairly astonished his audience, --especially an elderly gentleman who sat on a cracker-box in the rear, out of sight of the stand. This may have been Judge Whipple, although we have no proof of the fact.

Stephen himself would not have claimed originality for that speech. He laughs now when it is spoken of, and calls it a boyish effort, which it was. I have no doubt that many of the master's phrases slipped in, as young Mr. Brice could repeat most of the Debates, and the Cooper Union speech by heart. He had caught more than the phrasing, however. So imbued was he with the spirit of Abraham Lincoln that his hearers caught it; and that was the end of the rotten eggs and the cabbages. The event is to be especially noted because they crowded around him afterward to ask questions. For one thing, he had not mentioned abolition. Wasn't it true, then, that this Lincoln wished to tear the negro from his master, give him a vote and a subsidy, and set him up as the equal of the man that owned him? "Slavery may stay where it is," cried the young orator. "If it is content there, so are we content. What we say is that it shall not go one step farther. No, not one inch into a northern territory."

On the next occasion Mr. Brice was one of the orators at a much larger meeting in a garden in South St. Louis. The audience was mostly German. And this was even a happier event, inasmuch as Mr. Brice was able to trace with some skill the history of the Fatherland from the Napoleonic wars to its Revolution. Incidentally he told them why they had emigrated to this great and free country. And when in an inspired moment he coupled the names of Abraham Lincoln and Father Jahn, the very leaves of the trees above them trembled at their cheers.

And afterwards there was a long-remembered supper in the moonlit grove with Richter and a party of his college friends from Jena. There was Herr Tiefel with the little Dresden-blue eyes, red and round and jolly; and Hauptmann, long and thin and sallow; and Korner, redbearded and ponderous; and Konig, a little clean-cut man with a blond mustache that pointed upward. They clattered their steins on the table and sang wonderful Jena songs, while Stephen was lifted up and his soul carried off to far-away Saxony,--to the clean little University town with its towers and crooked streets. And when they sang the Trolksmelodie, "Bemooster Bursche zieh' ich aus,--Ade!" a big tear rolled down the scar on Richter's cheek.

"Fahrt wohl, ihr Strassen grad and krumm Ich zieh' nicht mehr in euch herum, Durchton euch nicht mehr mit Gesang, Mit Larm nicht mehr and Sporenklang."

As the deep tones died away, the soft night was steeped in the sadness of that farewell song. It was Richter who brought the full force of it home to Stephen.

"Do you recall the day you left your Harvard, and your Boston, my friend?" he asked.

Stephen only nodded. He had never spoken of the bitterness of that, even to his mother. And here was the difference between the Saxon and the Anglo-Saxon.

Richter smoked his pipe 'mid dreamy silence, the tear still wet upon his face.

"Tiefel and I were at the University together," he said at length. "He remembers the day I left Jena for good and all. Ah, Stephen, that is the most pathetic thing in life, next to leaving the Fatherland. We dine with our student club for the last time at the Burg Keller, a dingy little tavern under a grim old house, but very dear to us. We swear for the last time to be clean and honorable and patriotic, and to die for the Fatherland, if God so wills. And then we march at the head of a slow procession out of the old West Gate, two and two, old members first, then the fox major and the foxes."

"The foxes?" Stephen interrupted.

Volume 4 opens with a two-year leap, the narrator stating plainly, "I am going ahead two years." The intervening period is characterized as one of national struggle, with an extended metaphor comparing slavery to a disease introduced in 1620. The narrative then settles on Stephen Brice, now a practicing lawyer in Missouri, who has grown close to Judge Whipple and gained appreciation for Abraham Lincoln. The tone is conversational, with asides about newspaper conventions of the day—"the size of a blanket"—and the preciousness of telegraph news.

A Royal Excursion and a Political Potentate

The volume features two notable public figures. First, the heir to the English throne visits St. Louis, and Virginia Carvel dances with him "by Special Appointment." The narrator notes her composure: "save for a heightened color, Virginia gave no sign of excitement." Stephen, watching from the gallery, is struck by the scene. Shortly after, the city welcomes Stephen Arnold Douglas, the Democratic presidential candidate. The narrator describes the festivities with ironic flourish: "Blow, you bandsmen on the hurricane deck, let the shores echo with your national airs!" Douglas is escorted by the "Douglas Guards, the Hickory Sprouts, and the Little Giants," and a keen observer remarks that the shouts "must have penetrated Abraham's bosom at Springfield."

Newspapers, Clients, and Social Circles

The narrator offers a glimpse into the period's journalism: newspapers with no startling headlines, but "a continued novel among the advertisements on the front page" and verses from "some gifted lady of the town, signed Electra." Letters from citizens, clippings from distant cities, and pony-express dispatches fill the columns. Stephen's legal practice is mentioned with self-deprecation: "We shall not mention the number of clients thronging to Mr. Whipple's office to consult Mr. Brice. These things are humiliating." His income partly derives from newspaper articles. In autumn 1859, he joins a steamboat excursion to an Iowa convention, where he mingles with St. Louis's "bluest blood," including Miss Anne Brinsmade and Miss Puss Russell.

Narrative Voice and Historical Framing

The narrator frequently steps back to comment on the era and its significance. The opening metaphor of disease—"the germs of that disease for which the Nation's blood was to be let so freely"—frames the Civil War as a long-gestating crisis. Later, the narrator speculates on the future: those alive in 1859 "were to die in ancient Cuba" or "to see new monsters rise to gnaw at the vitals of the Republic." This prophetic tone is balanced by intimate details, such as Stephen's reaction to Virginia at the fair: "With a rough effort that made an angry stir, Stephen flung the people aside and escaped." The blend of personal drama and historical commentary is characteristic of the volume.

Social Hierarchy and Public Spectacle

The volume contrasts private emotions with public display. At the ball, Virginia appears "a princess to one watching from the gallery," while Stephen observes from the margins. The royal visit is followed by Douglas's arrival, complete with cannon, transparencies, and the "Independent Broom Rangers." Mr. Jacob Cluyme, a former Bell and Everett supporter, is converted after Douglas's speech, praising him as "the true representative man of the Great West." The narrator notes that Douglas "looked as if he had heard something of the kind before." These scenes underscore the performative nature of politics and society in St. Louis on the eve of war.

Readers approaching Volume 4 should attend to the narrator's wry commentary on politics and society, which often undercuts the grand public ceremonies. The excerpts offer a narrow window into Stephen's perspective; the full volume may develop his relationship with Virginia and the looming conflict. The historical figures—the Prince of Wales and Stephen Douglas—are rendered with a mixture of detail and detachment, inviting comparison with the fictional characters.

Reading those St. Louis scenes in The Crisis — Volume 04, with all their forward motion, I kept circling back to an older, quieter feeling—like remembering a face before you've named it. There's a certain weight to watching history settle into ordinary drawing rooms, which is precisely what Ford’s novel does so well. I was glad to revisit Janice Meredith: A Story of the American Revolution — Context and Discussion, for similar shadows linger there, too.

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