John Burnet of Barns: A Romance — Text and Context

(0 User reviews)   975
Buchan, John, 1875-1940 Project Gutenberg 2012 Not confirmed
Historical fiction; Great Britain -- History -- 17th century -- Fiction Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 121,400
Reading time 528 min
Text sections 14

For John Burnet of Barns: A Romance — Text and Context, the stored edition analysis reports 121,400 words, 8 hr 48 min estimated reading time, and 14 detected text sections.

The text analysis averages about 21.0 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 “Historical fiction,” connecting these edition facts with the source record’s subject description.

John Buchan's 1898 romance follows John Burnet's first-person account of flight, pursuit, and love amid 17th-century Scottish border conflicts. The narrative contrasts settled Tweeddale life with the lawless hills, using precise landscape details and a recurring ballad to bind the couple's fate.
Share
Editorial Edition Score 4.8/5

Calculated from edition completeness, EPUB availability, text structure and catalogue metadata. Not a user rating.

How this score is calculated
  • Description quality20 pts
  • Title & short description10 pts
  • Source metadata20 pts
  • Text length15 pts
  • Chapters / structure15 pts
  • EPUB file integrity20 pts

Total of 100 points, scaled to a 2.5-5.0 range. Editions with an empty description or a missing EPUB file are not scored.

Edition quality

Read the Text

I. THE ADVENTURE WHICH BEFELL ME IN THE WOOD OF DAWYCK II. THE HOUSE OF BARNS III. THE SPATE IN TWEED IV. I GO TO THE COLLEGE AT GLASGOW V. COUSINLY AFFECTION VI. HOW MASTER GILBERT BURNET PLAYED A GAME AND WAS CHECKMATED VII. THE PEGASUS INN AT PEEBLES AND HOW A STRANGER RETURNED FROM THE WARS VIII. I TAKE LEAVE OF MY FRIENDS IX. I RIDE OUT ON MY TRAVELS AND FIND A COMPANION

BOOK II—THE LOW COUNTRIES

I. OF MY VOYAGE TO THE LOW COUNTRIES II. I VISIT MASTER PETER WISHART III. THE STORY OF A SUPPER PARTY IV. OUR ADVENTURE ON THE ALPHEN ROAD V. THE FIRST SUNDAY OF MARCH VI. THE FIRST MONDAY OF MARCH VII. I SPEND MY DAYS IN IDLENESS VIII. THE COMING OF THE BRIG SEAMAW IX. AN ACCOUNT OF MY HOME-COMING

I. THE PIER O’ LEITH II. HOW I RODE TO THE SOUTH III. THE HOUSE OF DAWYCK IV. HOW MICHAEL VEITCH MET HIS END V. I CLAIM A PROMISE, AND WE SEEK THE HILLS VI. THE CAVE OF THE COR WATER VII. HOW TWO OF HIS MAJESTY’S SERVANTS MET WITH THEIR DESERTS VIII. OF OUR WANDERINGS AMONG THE MOORS OF CLYDE IX. I PART FROM MARJORY X. OF THE MAN WITH THE ONE EYE AND THE ENCOUNTER IN THE GREEN CLEUCH XI. HOW A MILLER STROVE WITH HIS OWN MILL-WHEEL XII. I WITNESS A VALIANT ENDING XIII. I RUN A NARROW ESCAPE FOR MY LIFE XIV. I FALL IN WITH STRANGE FRIENDS XV. THE BAILLIES OF NO MAN’S LAND XVI. HOW THREE MEN HELD A TOWN IN TERROR XVII. OF THE FIGHT IN THE MOSS OF BIGGAR XVIII. SMITWOOD

BOOK IV—THE WESTLANDS

I. I HEAR NO GOOD IN THE INN AT THE FORDS O’ CLYDE II. AN OLD JOURNEY WITH A NEW ERRAND III. THE HOUSE WITH THE CHIPPED GABLES IV. UP HILL AND DOWN DALE V. EAGLESHAM VI. I MAKE MY PEACE WITH GILBERT BURNET VII. OF A VOICE IN THE EVENTIDE VIII. HOW NICOL PLENDERLEITH SOUGHT HIS FORTUNE ELSEWHERE IX. THE END OF ALL THINGS

THE ADVENTURE WHICH BEFELL ME IN THE WOOD OF DAWYCK

I have taken in hand to write this, the history of my life, not without much misgiving of heart; for my memory at the best is a bad one, and of many things I have no clear remembrance. And the making of tales is an art unknown to me, so he who may read must not look for any great skill in the setting down. Yet I am emboldened to the work, for my life has been lived in stirring times and amid many strange scenes which may not wholly lack interest for those who live in quieter days. And above all, I am desirous that they of my family should read of my life and learn the qualities both good and bad which run in the race, and so the better be able to resist the evil and do the good.

My course, by the will of God, has had something of a method about it, which makes the telling the more easy. For, as I look back upon it from the vantage ground of time, all seems spread out plain and clear in an ordered path. And I would but seek to trace again some portion of the way with the light of a dim memory.

I will begin my tale with a certain June morning in the year 1678, when I, scarcely turned twelve years, set out from the house of Barns to the fishing in Tweed. I had escaped the watchful care of my tutor, Master Robert Porter, the curate of Lyne, who vexed my soul thrice a week with Cæsar and Cicero. I had no ill-will to the Latin, for I relished the battles in Cæsar well enough, and had some liking for poetry; but when I made a slip in grammar he would bring his great hand over my ears in a way which would make them tingle for hours. And all this, mind you, with the sun coming in at the window and whaups whistling over the fields and the great fish plashing in the river. On this morn I had escaped by hiding in the cheese-closet; then I had fetched my rod from the stable-loft, and borrowed tackle from Davie Lithgow, the stableman; and now I was creeping through the hazel bushes, casting, every now and then, a glance back at the house, where the huge figure of my teacher was looking for me disconsolately in every corner.

The narrator opens with deliberate self-deprecation—'my memory at the best is a bad one'—yet immediately asserts a methodical design: his life, he claims, has unfolded 'in an order' that makes telling easier. This tension between confessed fallibility and claimed structure runs through the excerpts. Buchan builds the romance not on grand declarations but on the recovery of a remembered ballad: John whistles a stave, Marjory recalls the air, and the old promise is claimed as a practical plan for escape. The song's refrain—'bear him company'—becomes the hinge of the plot, transforming a sentimental memory into a decision to flee together.

A Self-Conscious Narrator and the Order of Memory

The opening paragraph establishes a narrator who admits to a 'bad' memory yet insists his story has 'something of a method.' This paradox is not resolved; instead, Buchan lets the reader watch John Burnet shape his tale. The narrator addresses 'they of my family' as his intended audience, framing the book as both personal record and moral lesson. The excerpts show him interrupting action to reflect—on his own motives, on the 'vantage ground of time'—which gives the prose a retrospective weight. Yet the same narrator can be impulsive: he claims a promise, devises a plan, and acts without hesitation. This blend of introspection and decisiveness creates a voice that is both fallible and commanding.

Landscape as a Map of Loyalty and Danger

The geography of the novel is not backdrop but active force. John Burnet moves between named places—Dawyck, Smitwood, the 'moss of Biggar'—each carrying specific associations of safety or threat. The hills are 'wide moors' where he can be 'free and careless,' while the house of Dawyck becomes a place of dread. Buchan uses precise topographical detail: the 'edge of Douglasdale,' the 'shire of Lanark,' the 'Cor Water.' These are not generic settings but a known landscape that the characters navigate with local knowledge. The plan to shelter Marjory at Smitwood depends on a web of kinship and secrecy—'no word should come to his ear of her destined harbour'—showing how terrain and family ties together determine the plot's possibilities.

The Ballad as a Contract Between Lovers

In a key scene, John Burnet recalls a song Marjory once sang to him. He whistles the tune, quotes two verses, and then declares it a 'promise' he has come to claim. The ballad's refrain—'bear him company'—is literalized: Marjory agrees to follow him 'even to the world's end.' Buchan does not present this as sentimental; it is a practical negotiation. John reminds her of the words, she blushes, and then she consents to a dangerous journey. The song functions as a pre-existing bond, a shared text that justifies action. The narrator's careful retrieval of the verses—'I think, too, that I have mind of a verse or so'—echoes his earlier claim about memory, suggesting that what matters is not perfect recall but the willingness to use what one remembers.

Readers should attend to the way Buchan balances the narrator's retrospective calm with the urgency of the events he describes. The excerpts show a story that moves between intimate conversation and swift action, between the safety of a remembered song and the exposure of the moors. The landscape is never merely picturesque; it is a system of refuges and traps. The romance is built not on passion but on a pact renewed through quotation, and the tension between John's self-doubt and his resolve gives the narrative its distinctive pulse.

There’s something about John Burnet of Barns that stays, the way old ballads do—that pull between a settled life and the wild hills, love bound to place. I found myself thinking of that ache again while reading Scarlet and Hyssop: A Novel — Context and Discussion. It lingers differently, but it lingers. Maybe you’ll feel that weight too, quietly.

There are no reviews for this eBook.

0
0 out of 5 (0 User reviews )

Add a Review

Your Rating *
There are no comments for this eBook.

Reader reflection

Before you leave, reflect on the book

Use these questions to collect your thoughts before moving on.

Your progress 0 / 10
1

What is your current status with this title?

2

Was reading this book enjoyable?

3

Would you pass this book on to a friend?

4

Did the language feel accessible?

Related eBooks