A Lost Cause — A Reader’s Guide

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Thorne, Guy, 1875-1923 Project Gutenberg 2012 Not confirmed
England -- Fiction; Church of England -- Fiction Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 65,994
Reading time 287 min
Text sections 6

The catalog record for A Lost Cause — A Reader’s Guide provides practical reading context through 65,994 words, 4 hr 47 min estimated reading time, and 6 detected text sections.

The text analysis averages about 15.9 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 “England -- Fiction,” connecting these edition facts with the source record’s subject description.

Guy Thorne's 1905 novel uses a preface and fictional narrative to argue the Catholic side of early 20th-century Church of England controversies, focusing on the Luther League's anti-Ritualist agitation. The excerpts reveal a didactic, polemical voice and a shift from authorial explanation to dramatized debate.
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There was nothing in the short discourse that was remarkable, but its delivery was extraordinary. The words were uttered with a great tenderness and solemnity, but quite without any formal note. There was almost a gaiety in them now and then, a spiritual gaiety that was very impressive. Father Blantyre leaned over the rail and talked to his people. The voice, which sank into a whisper at times, and at others rang out with a sharpness that echoed up in the lofty roof, never once lost its suggestion of confidential intimacy with those to whom it spoke. In the entire absence of the usual "preaching" note, the sermon gained immensely in value with this particular audience. Anything academic would have been endured, but it would not have gone home.

While the offertory sentences were being sung, the congregation saw that a small group of people had entered the church, presumably to hear Mass.

One of the churchwardens was able to find seats for the party about half-way down the central aisle. The new-comers were four in number. All of them were men.

It is perhaps strange to speak of one of their number as being the "leader" of the party, but that was the impression he gave to those members of the congregation immediately around him. At the close of the service, moreover, several worshippers agreed with each other that this person had suggested that to them.

He was a shortish, thick-set man of some five and forty years of age. His large, intelligent face was clean-shaved. The eyes were small and very bright, shifting hither and thither in a constant flicker of observation. The mouth was large, and though the lips were thick and loose, there was nevertheless a certain resolution in them. They were frequently curved into a half-smile which had something indescribably sinister and impudent about it. One saw that, in whatever situation he might find himself, this person would not easily be abashed or unready.

He wore a frock-coat of shining broadcloth. The waistcoat was cut low, not as well-dressed people would wear it, showing a large expanse of imitation shirt-front through which a black stud was thrust. A small bow of black ribbon served as necktie. In some nameless way, he suggested a peculiarly unpleasing type of irregular dissenting minister in his appearance, and this was enhanced by the fact that under one arm he carried a large Bible of limp leather, secured by an india-rubber band.

Yet, with all this, the new-comer had a remarkable and even arresting personality. Wherever he went, he would not easily escape notice.

By his side sat a tallish youth with sufficient likeness to him to proclaim a near relationship.

The young fellow's complexion was somewhat muddy, his hair was smooth and mouse-coloured, his mouth resembled his father's, except that it had not the impudent good-humour of the elder man's, and was altogether more furtive and sly.

The two remaining members of the party were men apparently of the prosperous small-tradesman type, pursy, flabby with good living, who had added mutton-chop whiskers to their obvious self-esteem.

To one or two members of the congregation there, the father and son were not unknown. The thick-set, clean-shaved man was Mr. Samuel Hamlyn, the editor and proprietor of a small local journal,--the _Hornham Observer_,--and the youth was his son, who acted as reporter to the paper and signed himself S. Hamlyn, Junior.

Both were well known in local affairs; Hamlyn was a member of the school-board and held one or two kindred positions. His religious sympathies had hitherto been supposed to lie with the numerous dissenting sects in the parish, all of whom had their bills and other announcements printed at his office.

The momentary interest and stir created by the entrance of the party died away almost immediately and Mass continued. Certainly no one in the church realised that in a few short weeks the fat man with the smile would be notorious all over England, and that they were to be present at the very first step in the career of one of the shrewdest of vulgar opportunists the country had ever known.

The seats reserved for the churchwardens were on the opposite side of the aisle, but almost upon a level with those in which the new-comers were seated--perhaps some two rows of chairs behind.

Accordingly Doctor Hibbert, the vicar's warden, had a clear view of the four men just in front.

Guy Thorne's A Lost Cause opens with a preface that frames the novel as a deliberate response to readers of his earlier When It Was Dark. Thorne states he received 'nearly two hundred communications' about that book, many pressing for a fictional defense of the Catholic position within the Church of England. The preface thus establishes the work as a piece of controversial fiction, aimed at 'the man in the street' who, Thorne claims, is 'more attentive' to iconoclastic voices. This authorial intervention sets a distinctly polemical tone before the story begins.

Preface as Argumentative Frame

The preface is not a mere courtesy; it is a strategic positioning. Thorne describes 'Protestantism within the Church' as 'a lost cause, it is dying,' and characterizes its proponents as 'uneducated and noisy nobodies' who have 'elected themselves into a sort of irregular prelacy.' This combative language, with its hedge-bird metaphor—'their voices are like the cries of hedge-birds by the road'—reveals a narrator who is openly partisan. The preface also includes a disclaimer that 'no single character in this tale is a portrait of any living person,' a common defensive move in roman à clef controversies. Readers should note how this prefatory voice differs from the narrative voice that follows.

Dialogue as Propaganda Vehicle

The excerpted dialogue between 'Father' and 'Sam' is the novel's engine for dramatizing its argument. Father outlines a scheme for 'Luther Lecturers' who will travel the country with pre-written lectures on the Mass and the confessional, using 'illegal wafers' as props. His language is colloquial and manipulative: 'It's all an unworked mine!' and 'My men'll win every time.' The dialogue is structured as a Q&A, with Sam playing the skeptical straight man ('But what about your men—where'll you get 'em?'). This technique allows Thorne to expose the mechanics of anti-Ritualist agitation while maintaining a veneer of fictional realism. The voice here is rapid, strategic, and laced with class markers—'Hengland,' ''idden places'—that distinguish the speakers from the preface's more measured authorial tone.

Pace Shifts from Exposition to Confrontation

The narrative pace changes markedly between the preface and the dialogue. The preface moves in long, periodic sentences: 'At no period in modern Church history has the Church been assailed with such malignance, slander, and untruth as at the present.' This is the voice of a public intellectual, building a case. In contrast, the dialogue section accelerates into short, punchy exchanges: 'Good scheme, Father, if you can do it.' 'Not at all, Sam.' The rhythm becomes staccato, mimicking the urgency of conspiracy. Thorne also inserts a specific, grotesque detail—the instruction to burn a spider that falls into consecrated wine—as a calculated piece of 'humour' meant to 'fire the popular imagination.' This shift from abstract argument to concrete, even absurd, example suggests a novelist who understands that pace and particularity can serve polemical ends.

Readers approaching A Lost Cause should attend to how Thorne balances his dual roles as advocate and storyteller. The preface and dialogue offer contrasting registers—one deliberative, one dramatic—that together aim to persuade. The novel's structure, as glimpsed here, relies on embedding argument within character interaction, a method that rewards attention to who speaks and how. The excerpts suggest a work less concerned with psychological depth than with rhetorical effect, making it a document of its era's religious debates as much as a narrative.

Reading this preface reminded me of sitting with my grandfather, who once tried to explain a church dispute by telling me, "It's about who gets to write the story." That same tug-of-war between explanation and argument, between authority and persuasion, surfaced later when I found Out of the Hurly-Burly; Or, Life in an Odd Corner — Edition Insights, where the editor's quiet notes made me feel like I was eavesdropping on a private conversation about belonging.

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