The Weird of the Wentworths: A Tale of George IV's Time, Vol. 2 — A Closer Reading

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Scotus, Johannes Project Gutenberg 2012 Not confirmed
Conduct of life -- Fiction; Great Britain -- History -- George IV, 1820-1830 -- Fiction Readers of public-domain and historical texts
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Edition facts

Words 85,199
Reading time 371 min
Text sections 9

The catalog record for The Weird of the Wentworths: A Tale of George IV's Time, Vol. 2 — A Closer Reading provides practical reading context through 85,199 words, 6 hr 11 min estimated reading time, and 9 detected text sections.

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Project Gutenberg metadata also associates the work with “Conduct of life -- Fiction,” connecting these edition facts with the source record’s subject description.

This editorial note examines the second volume of Johannes Scotus's Gothic novel, focusing on its rapid scene shifts, recurring imagery of prisons and storms, and the moral ambiguity of its fugitive protagonist.
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Editorial Edition Score 4.8/5

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Wentworth had merely wished to tell Ellen; but as he told a story remarkably well, before he had finished he found the whole table listening to him.

"A most singular and interesting story, my Lord," said Mr. Lennox; "but I opine we must give it the same belief we give ghost stories in general."

"No, Mr. Lennox," said the Marchioness, "this is quite unlike all other stories, because its truth is proved by facts in the Peerage:--you will find no De Vere since Hugh, Earl Wentworth, ever lived to be old."

"Certainly a curious coincidence, Lady Arranmore; and possibly explained by the simple fact, the De Veres are a short-lived family."

"But," said Lady Florence, "they were very long-lived before, as the portraits show; you must never tell a De Vere you misbelieve The Weird."

"There's no doubt about the matter," said the Captain; "with everything to attest it, he must be a fool who does not credit it; you will see all of us will be knocked on the head soon enough,--girls first; but a short and merry life for me!"

"Indeed, John, I don't see why we should die before you," said Lady Arranmore. "I fear you will be the first, with your fights and duels."

"Devil a fear; come, I'll bet I outlive both of you!"

"Come, I don't like this jesting," said the Marquis; "it is a serious thing; and for my part I am like Lennox, and don't believe in such nonsense."

"Nor I," said Sir Harry; "you are all hale and well; why should you think you will die so early? What a splendid pine!--will you allow me to give you some, Lady Florence?"

"I should think it was enough to make you quite nervous, Lady Arranmore," said Ellen, still thinking on the Weird,--"it is such a dreadful thing."

"No, Miss Ravensworth, we have become so accustomed to it, and brought up in the belief, we are almost proud of our doom,--we have learned to love it almost. After all, I should not like to grow old and--"

"Hideous," said the Captain; "no, no,--whom the gods love die young!"

"I fear, then, you will be the first old man, John, in our family," said Lady Florence, laughing.

"A good one! How d'you like that, Captain?" said Sir Richard, filling his glass. "Your health, De Vere!"

Without replying the Captain drank wine.

"If this is really an established fact," said Mr. Power, "I think it should make you very serious; it is doubtless intended as a warning; and if your days are to be short on earth, do you ever think that, after death, there is an endless existence of bliss or misery?"

"After all," said the Earl, "you are no better than we are, Mr. Power;--none of us know our end."

"True, my Lord; but if, as you say, none of your family live long,--and you are now all grown up,--the time is short; and you should take the more earnest heed to these matters."

"That is not my theory, Power: 'Happy for the day, careless for the morrow,'--that's Scripture; at least it was when I was a boy," said the Captain, whose ideas of the Bible were not very correct.

"This is the very perversion of Scripture, my young friend; when it bids us not be careful of the morrow, it means we are to lay all our cares on One who has promised to carry them."

"Well, Power, I am not learned in divinity; you stick to your trade, and I will to mine; you be a soldier of God, and I will a soldier of the King, or the devil, if you like it!"

A suppressed murmur of disapprobation followed this, and the Earl changed the conversation by a totally irrelevant remark. Sir Richard, unfortunately for himself, as the story will show, brought back the conversation by saying they had found some striking resemblances to the present family in some of the portraits.

"Indeed!" said the Earl. "And in whom did you find my likeness?"

"In the seventh Earl,--Algernon, I think was his name,--a young man in a hunting suit. Then we found out a likeness for Lady Florence, in her grandaunt Guendolen; and for the Marchioness in the Abbess Augusta; but the best of all was--"

"Don't, please!" said Lady Florence, whispering across Johnny; "don't say it; John doesn't like it." (Whether he did not comprehend Lady Florence's meaning, or whether he wished to prove the truth of her assertion, we know not; but in an evil moment he finished his remark)--

"--was the likeness to the Captain."

"And to whom do you liken me?" said the Captain, in a gloomy voice.

The second volume of The Weird of the Wentworths opens with a prisoner weighing escape against the chance to see Ellen once more. The rope and file lie ready, but L'Estrange hesitates, caught between the clatter of horse-hoofs and the striking clock. This interior conflict, rendered in short, breathless sentences, sets the pattern for a narrative that moves swiftly between confinement and open landscape, between moral paralysis and violent action.

Prisons and Thresholds

The volume repeatedly places characters at literal or figurative thresholds. L'Estrange's cell, with its bars and waiting rope, is the first of several confined spaces. Later, the narrative shifts to a brigand camp where Caroline is held, and the threat of violence is framed by the 'fatal poles' and 'ghastly heads' that mark the boundary of the outlaws' territory. Even the Captain's home, reached through a side door in the rain, becomes a liminal space where decisions are forced. These settings are not mere backdrops; they embody the characters' entrapment by circumstance or by their own pasts.

Storm and Flash

Weather functions as both atmosphere and structural cue. The opening chapter is punctuated by 'rapid flashes' of lightning and 'raining torrents,' mirroring L'Estrange's turmoil. Later, the brigand confrontation unfolds under a 'dark light' and eyes that 'rolled fire.' These stormy interludes often coincide with turning points: the Captain's arrival, the rebellion against his authority, and the sudden appearance of mounted sbirri. The elements do not merely decorate the action; they mark the rhythm of the plot, compressing time and heightening stakes.

The Divided Protagonist

L'Estrange is introduced as a murderer fleeing justice, yet the narrative invests heavily in his inner conflict. He is torn between the 'evil genius' who offers escape and his own 'irresistible inclination' to stay. In the brigand camp, he renounces his allegiance, declaring, 'black as my heart is... I have something human left still.' This self-awareness complicates the reader's sympathy. The text does not resolve his moral status; instead, it presents him as a man capable of both flight and protection, of crime and chivalry. The Captain's taunt—'you were ever a blockhead when women fell in your way'—underscores the tension between his violent past and his protective impulse.

Shifting Focalization

The narrative moves abruptly between characters' perspectives, often without transition. In the first chapter, we follow L'Estrange's thoughts, then 'leave him a few moments in order to follow the Captain home.' Later, the point of view shifts to Caroline's terror as she 'detected the cruel reality' of the brigands' trophies. This technique creates a mosaic of limited viewpoints, each colored by fear, guilt, or defiance. The effect is a story that feels both urgent and fragmented, as no single character holds the full picture. The reader, like the characters, must piece together motives from actions and glances.

Readers approaching this volume should attend to the way scenes are linked by weather and by the recurrence of thresholds—doors, bars, borders. The moral landscape is as unsettled as the physical one: L'Estrange's heroism is never clean, and the Captain's villainy is leavened by moments of grudging respect from his men. The novel rewards attention to its structural patterns rather than to a straightforward hero's journey.

I found myself lingering on the fugitive’s endless hiding in The Weird of the Wentworths, that restless shifting from one borrowed room to another, always listening for footsteps. It reminded me of a quieter sort of unease I once felt reading The House Opposite: A Mystery — A Reader’s Guide. Strange how walls can feel both shelter and sentence.

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