The Last Call: A Romance (Vol. 3 of 3) — A Closer Reading
Edition facts
For The Last Call: A Romance (Vol. 3 of 3) — A Closer Reading, the stored edition analysis reports 39,668 words, 2 hr 53 min estimated reading time, and 4 detected text sections.
The text analysis averages about 15.5 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 “Man-woman relationships -- Fiction,” connecting these edition facts with the source record’s subject description.
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- Title & short description10 pts
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- Text length15 pts
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Read the Text
At half-past six a train left Rathclare for Dublin. The evenings were now cold and short. It was getting near winter, the end of autumn. As the train was about to start from the platform, a man with the collar of a large boat-cloak turned up about his ears, and a soft felt hat pressed low over his brows, stepped into an unoccupied first-class compartment, and took his seat.
He did not speak to the guard who checked his ticket, nor had the guard any opportunity of seeing his face, as the man in the cloak kept his face carefully averted. He sat muffled up in the corner without moving, hour after hour, as the train sped on through the darkness.
Every time the speed slackened and they drew near a station at which they were to stop, he shook himself slightly, straightened his hat down over his eyes, and pushed up the collar of his cloak. All the way from Rathclare to Dublin fortune favoured him, if he desired to be alone. For, although they stopped several times, and came to a junction where he had to change, he succeeded in making his journey in solitude.
On three occasions the door of the compartment in which he sat had been opened, and a passenger was about to step in. On each occasion that passenger drew back, repelled by the motionless, dark figure, and by a sense of solitude surrounding that figure. Not one of the three passengers knew what it was which gave the air of this solitude, and yet each had felt that around that motionless figure were gloom and loneliness which startled and repelled. Yet the reason was very simple. Between that muffled form and the surrounding world there was no link, no band of union, however slight. There was an absolute figure, set in the absolute vacuity of the compartment. Beside, above, or beneath that figure was no article such as is usually seen by a traveller. No baggage of any kind; no stick; no umbrella; no newspaper; no rug; no book; no bag. Nothing but the bare figure and the bare compartment.
Under that hat and cloak a form of terror or of danger might lie hidden, and it would not be pleasant to sit there, when practically beyond human aid, speculating on what that hat and that cloak hid. It would be still less pleasant if suddenly that cloak and that hat revealed what they hid, and it was found to be a figure of menace or of danger.
At the Kingsbridge Terminus, Dublin, the solitary man got into a cab, and said briefly to the driver: "Westland Row Station."
When he arrived there he learned he was a couple of hours too soon for the Holyhead mail. He paid the cabman, and went to a hotel close by, where travellers may wait up for the mail, and have food and drink while they wait. Here he ordered some light refreshment, and getting into a corner of the large coffee-room, and turning his back to the room, he ate and drank without removing his cloak or hat.
When it was announced that it was time to be stirring for the mail, the cloaked man rose, walked rapidly to the station, and took a first-class single ticket to Euston. When he got on board the boat he secured a berth, lay down, and did not move until the passengers were summoned for landing.
Late in the forenoon he got into the train at Holyhead. Here he was not so fortunate as he had been in his Irish journey. He had to share a compartment with three others.
Still he remained muffled up, silent, motionless. Hour after hour went by, and he never moved, beyond occasionally adjusting the collar of his cloak or his soft felt hat.
On his arrival in London he seemed undecided for a while as to what he should do, for he walked up and down the platform at Euston until all the other passengers had left. He spoke to no one. He did not answer any of the porters who asked him if he wanted a cab, and, finally, he left the terminus on foot, and, taking a southerly direction, walked straight on for half-an-hour.
It was now quite dark, and had been dark for some time. He did not look to the right or the left, but kept straight on through a line of dingy third-class streets. Then, coming out on a busy thoroughfare, he took a hansom and gave the address of a quiet hotel in the City.
When he arrived at his destination he said he needed no refreshment, and desired to be shown at once to a bedroom.
Had the gentleman no luggage?
The opening of Volume 3 presents a nameless man in a boat-cloak and felt hat who boards a train at Rathclare, carefully avoiding detection. The narrative dwells on his absolute solitude: no baggage, no newspaper, no stick—nothing but “the bare figure and the bare compartment.” Three would-be passengers recoil from an indefinable sense of gloom around him. This extended scene, nearly devoid of dialogue, establishes a mood of secrecy and threat that the catalog subjects of mistaken identity and man-woman relationships do not fully capture.
A Train Journey Without a Destination
The journey from Rathclare to Dublin is described with unusual attention to the traveler’s efforts to remain unseen. He keeps his face averted from the guard, shakes himself at each station to adjust his disguise, and succeeds in traveling alone despite several stops. The narrator explains that the absence of any personal article—no stick, umbrella, newspaper, rug, book, or bag—creates an aura of “absolute vacuity” that repels others. This detail is not merely atmospheric; it suggests a deliberate stripping away of identity. The catalog subject of mistaken identity might apply, but the text here emphasizes anonymity rather than confusion between persons. The traveler’s motives are withheld, and the scene functions as a self-contained set piece of suspense.
Discord in the Duet
Later, the friends Lavirotte and O'Donnell argue after Lavirotte proposes moving back to St. Prisca's Tower, a site associated with a death and a near-death. Their conversation shifts from a proposed musical duet to a bitter exchange about poverty and despair. Lavirotte dismisses a song from Faust with “Damn 'Faust'!” and instead begins a lyric about fading stars and morning. When O'Donnell refuses to sing, Lavirotte deliberately strikes a note of discord, calling it “the first note of discord” between them since a prior incident. The dialogue reveals their financial straits: O'Donnell has a wife and child and has earned nothing since coming to London; Lavirotte has earned a guinea but sees no future. Lavirotte’s dark humor—joking about cutting throats—underscores the tension between the catalog subject of man-woman relationships (O'Donnell’s family) and the actual focus on male friendship under economic strain.
The Tower as a Recurring Setting
St. Prisca's Tower appears in the excerpts as a site of past trauma and present temptation. Lavirotte wants to return there because rent is cheap and the isolation suits his singing practice: “you might shout your voice away there, and not a soul would hear you.” O'Donnell shudders at the idea, calling it haunted—not literally, but because a man died there and Lavirotte himself nearly died. The tower thus carries a double weight: it is both a practical refuge for a penniless musician and a place of remembered violence. The catalog subjects do not mention setting, yet the tower’s history and atmosphere drive the characters’ decisions. The excerpts do not reveal what happened there, but the repeated references make it a focal point of unresolved past events.
Readers should note that this volume is the third of three and begins in medias res. The catalog subjects of man-woman relationships and mistaken identity are present only in traces; the excerpts focus instead on male camaraderie, economic anxiety, and the psychological weight of place. The train scene and the tower discussions reward attention to how Dowling uses objects and their absence to signal character states. The full novel may clarify how these elements connect to the romance promised in the title.
Reading the cloaked traveler’s lonely carriage, I remembered a winter I spent on night trains, watching strangers’ faces blur into scenery. That same ache of proximity without connection crept through God and the King — Text and Context, where faith and duty whisper past each other like overlooked compartments. Isolation doesn’t shout; it settles, quietly, between the lines.
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