The Queen of Sheba, and My Cousin the Colonel — Inside the Classic

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Aldrich, Thomas Bailey, 1836-1907 Project Gutenberg 2004 Not confirmed
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Edition facts

Words 64,724
Reading time 282 min
Text sections 6

Before opening The Queen of Sheba, and My Cousin the Colonel — Inside the Classic, the edition data offers a quick orientation: 64,724 words, 4 hr 42 min estimated reading time, and 6 detected text sections.

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An editorial note examining the structural pairing of two tales, the recurring image of Oriental cities dissolving at dawn, and the movement between New Hampshire hills and Alpine glaciers in Aldrich's linked narratives.
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Lynde had actually knocked him down and forced the cancelled mortgage upon him!

In short, David Lynde was warm-hearted and generous to the verge of violence, but a man in every way unfitted by temperament, experience, and mode of life to undertake the guardianship of a child. To have an infant dropped into his arms was as excellent an imitation of a calamity as could well happen to him. I am told that no one could have been more sensible of this than David Lynde himself, and that there was something extremely touching in the alacrity and cheerfulness with which he assumed the novel responsibility.

Immediately after the funeral--Mrs. Lynde had resided in Philadelphia--the uncle brought the boy to New York. It was impossible to make a permanent home for young Lynde in bachelor chambers, or to dine him at the club. After a week of inconvenience and wretchedness, complicated by the sinister suspicions of his landlady, David Lynde concluded to send the orphan to boarding-school.

It was at Flatbush, Long Island, that I made the acquaintance of the forlorn little fellow. His cot was next to mine in the dormitory; we became close friends. We passed our examinations, left Flatbush at the same time, and entered college together. In the meanwhile the boy's relations with his guardian were limited to a weekly exchange of letters, those of the uncle invariably beginning with "Yours of Saturday duly at hand," and ending with "Enclosed please find." In respect to pocket-money young Lynde was a prince. My friend spent the long vacations with me at Newburgh, running down to New York occasionally to pass a day or so with the uncle. In these visits their intimacy ripened. Old Lynde was now become very proud of his bright young charge, giving him astonishing dinners at Delmonico's, taking him to Wallack's, and introducing him to the old fossils at the club as "my boy Ned."

It was at the beginning of Lynde's last term at college that his uncle retired from business, bought a house in Madison Avenue, and turned it into a sort of palace with frescoes and upholstery. There was a library for my boy Ned, a smoking-room in cherry-wood, a billiard-room in black walnut, a dining-room in oak and crimson--in brief, the beau-ideal of a den for a couple of bachelors. By Jove! it was like a club-house--the only model for a home of which poor old Lynde had any conception. Six months before Ned was graduated, the establishment was in systematic running order under the supervision of the pearl of housekeepers. Here David Lynde proposed to spend the rest of his days with his nephew, who might, for form's sake, adopt some genteel profession; if not, well and good, the boy would have money.

Now just as Ned was carrying off the first prizes in Greek and mathematics, and dreaming of the pleasant life he was to lead with his amiable old benefactor, what does that amiable old benefactor go and do but marry the housekeeper!

David Lynde knew very little of women: he had not spoken to above a dozen in his whole life; did not like them, in fact; had a mild sort of contempt for them, as persons devoid of business ability. It was in the course of nature that the first woman who thought it worth her while should twist him around her finger like a remnant of ribbon. When Ned came out of college he found himself in the arms of an unlooked-for aunt who naturally hated him at sight.

I have not the time or space, my dear uncle, to give you even a catalogue of the miseries that followed on the heels of this deplorable marriage; besides, you can imagine them. Old Lynde, loving both his wife and his nephew, was by turns violent and feeble; the wife cool, cunning, and insidious--a Vivien of forty leading Merlin by the beard. I am not prepared to contend that the nephew was always in the right, but I know he always got the worst of it, which amounts to about the same thing. At the end of eight or ten months he saw that the position was untenable, packed his trunk one night, and quitted the MENAGE--the menagerie, as he calls it.

The volume pairs two narratives—"The Queen of Sheba" and "My Cousin the Colonel"—that share a protagonist but shift sharply in setting and tone. The first opens with Edward Lynde, a bank clerk, riding out of Rivermouth at dawn in June 1872, his eye caught by "a city of golden spires and mosques and minarets" in the eastern clouds, which dissolves as the sun rises. This fleeting mirage establishes a pattern: the story repeatedly builds and then dismantles romantic illusions, from Lynde's imagined Oriental city to the later revelation of a mysterious woman he calls the Queen of Sheba.

A Two-Part Structure with a Shared Center

The book is divided into two distinct sections, each with its own title and chapter sequence. "The Queen of Sheba" occupies the first eleven chapters, tracing Lynde's journey from New Hampshire to Switzerland. "My Cousin the Colonel" follows as a separate tale, though it continues with the same characters. The table of contents lists them as independent works, yet the narrative thread—Lynde's encounter with a strange woman and his subsequent search for her—bridges both parts. This structure allows Aldrich to contrast a rustic American opening with a European alpine climax, the shift signaled by chapter headings that move from "In Which There Is a Family Jar" to "From Geneva to Chamouni."

Recurring Images of Transience and Disappearance

The opening mirage of an Oriental city "destroyed by a general conflagration" as the sun rises is not an isolated fancy. Later, on Montanvert, Lynde tells Ruth a story that begins with his New Hampshire ride, and the narrative folds back on itself. The glacier itself is described as "an immense ploughed field covered by a fall of snow that has become dingy," its crevasses hidden—a landscape that promises revelation but withholds it. The Queen of Sheba, when she appears, is as elusive as the cloud-city; Lynde's pursuit of her across Europe mirrors the reader's attempt to fix a meaning to the recurring motif of things seen and then lost.

Movement Between Wild and Domestic Spaces

The journey moves through sharply contrasting settings: the solitary New Hampshire hills where Lynde sleeps in barns and washes in mountain brooks, and the polished interiors of Swiss inns where he examines "crystals and moss-agates and horn-carvings" in M. Couttet's salon. The narrative eye lingers on thresholds—the edge of a glacier, the precipice above the Mer de Glace, the moment when Lynde and Ruth "set out for the rocks overlooking the frozen sea." These border spaces heighten the sense of a story poised between adventure and reflection, between the wild and the cultivated.

The Embedded Tale as Structural Mirror

Midway through the Alpine section, Lynde tells Ruth the story of his own earlier journey—a tale within the tale. He begins with the same details the reader has already encountered: the bank clerk, the horse, the vanishing cloud-city. This recursive device forces the reader to see the first half of the book as a story being recounted, not simply experienced. The effect is to double the distance between event and narration, reminding us that Lynde is both actor and storyteller. The embedded tale also delays the revelation of the Queen of Sheba, stretching the mystery across both sections of the volume.

Readers attentive to the book's architecture will note how the two halves echo each other: a departure, an encounter with the inexplicable, a journey abroad. The recurring image of a city that vanishes at dawn—first in the clouds, later in memory—gives the volume a coherence that its divided title might obscure. The editorial note suggests reading the two tales as a single, deliberately fractured narrative, where the gaps between sections are as meaningful as the scenes themselves.

Sometimes Aldrich’s dawn dissolving those Oriental cities makes me think of how a story’s edges soften with time, the way certain characters linger long after the plot fades. I found that same quiet ache in An Egyptian Princess — Volume 06 — Text and Context, where the past feels less like history and more like a half-remembered morning.

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