The Youth of Parnassus, and Other Stories — Edition Insights
Edition facts
The Youth of Parnassus, and Other Stories — Edition Insights can be approached with a clearer sense of reading commitment from its source measurements: 39,371 words, 2 hr 52 min estimated reading time, and 4 detected text sections.
The text analysis averages about 18.9 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 “Short stories,” connecting these edition facts with the source record’s subject description.
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- Description quality20 pts
- Title & short description10 pts
- Source metadata20 pts
- Text length15 pts
- Chapters / structure15 pts
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Read the Text
Foley thought he had done his duty in calling, and meant for the future to see as little as possible of his new neighbour. And yet there had been something pleasant and sensitive in his face, he remembered afterwards; and at times he was haunted by the thought of this stranger sitting as he had found him, alone and lonely in the room upstairs, with two or three books in the empty shelves, a few photographs of home that made the mantelpiece and bare walls look all the more homeless and unfriendly. Now and then he would hear footsteps above moving vaguely about, or he would meet the American on the stairs, or see him walking out alone, and at last, out of kindness, he went again to call.
Before long he began to take a certain liking to Sutton, and would often go up in the evenings with a cigarette to his rooms. To the young Englishman the American was certainly a curious and amusing study. How curious were the views and impressions of Oxford, that, breaking through his shy reserve, he would once in a while express, in his prim middle-aged way! He was a good deal shocked by the wine-drinking, card-playing, and Sabbath-breaking that seemed so prevalent there; what religion there was, (well, he didn't guess there was much,) he thought mechanical and dead. Of course there was a great deal of culture in Oxford; but in other things, like telephones and electric lights, why England was behind the Mississippi Valley!
Foley began to have ideas of his own about this Mississippi Valley. He had already read of its rivers and railways and mushroom towns, and he remembered some of the proud things that Sutton had said at different times of Parnassus City and its importance--it was almost the only subject on which the reticent young man ever seemed willing to talk--the thought-out comparisons he would draw between that place and Oxford, in his attempts to explain to himself what he saw, and account for it all, according to his principles.
One evening, in a burst of unusual talkativeness, he described how Parnassus City had been laid out twenty years before, on what had been till then an unploughed prairie; but now there were thousands of inhabitants, rows of business buildings, and elegant residences in the outskirts. There were electric trolleys too in the streets; and the whole town was lighted by natural gas. Not only had the place grown fast in trade and population, but there had been, he explained, a pretty rapid growth in culture. Oh, they didn't intend to let the moss grow on them out in Indiana! Schools and churches were built--the most elegant was the First Methodist, the Reverend Dr. Turnpenny's. It was Dr. Turnpenny, he added, who started the Forward Movement among the Indiana Methodists which made such a stir. Then, after the churches, they had built a lecture hall and library, and, at last, the Parnassus College.
Foley asking more about this college, Sutton explained that though it had been built a few years before as a college for Methodist theology and liberal learning, it was already larger than the neighbouring institute at Corinth Creek, and only second in those parts to the University of Miomi. It wasn't of course like the universities in the Eastern States, but still they were proud of it there.
He had pinned up on the old panelling of his wall a photograph of this Parnassus College: a rather gaunt frame building, standing in a ploughed field among a few new-planted trees. About the steps were grouped a number of young men and women, many of them wearing spectacles, and all with earnest faces and provincial dress. "That's my class," Sutton explained, pointing at his own figure in the group. "It's the biggest class we've had so far, thirteen gentlemen and seven ladies."
Foley studied the photograph of the college, and the pictures on the mantelpiece--several college friends, with lank serious faces; an intellectual young lady, her hand resting on a copy of the Bible; and an old, mild, white bearded minister--Dr. Turnpenny, no doubt. There was a picture too of a wide city street. Then it really existed, this remote place, and people lived there! he thought, amused at the curious chance which had brought Sutton, the promise and pride, perhaps, of his native town, and set him down in so different a world.
Logan Pearsall Smith’s 1895 collection opens with an American student arriving at Oxford under a large umbrella, his “long, black broadcloth coat of provincial cut” marking him as an outsider. The narrator’s initial misidentification—first as a tourist, then as a mission agent—establishes a pattern of misreading that runs through these stories. Smith’s diction is precise: the umbrella moves with an “undecided motion,” and the young man’s voice is “very unusual” in accent. These small observations accumulate into a portrait of social friction and self-consciousness.
Diction and the Outsider’s Gaze
Smith’s choice of words often signals a character’s social position or emotional state. The American’s cautious reply—“I guess I will; though it does seem kind of old and mouldy”—uses colloquial hedging that contrasts with Foley’s clipped internal monologue. The narrator notes the “melancholy footsteps” mounting the stairs, a detail that personifies sound and foreshadows the young man’s isolation. Later, in “A Broken Journey,” Arthur Lestrange’s thoughts are rendered through restless physical actions: he “changed his seat restlessly,” “rearranged his luggage,” and “looked at himself in the mirror, caressing his slight moustache.” Smith avoids direct psychological exposition, letting verbs and gestures convey anxiety.
Dialogue as Misdirection
Conversations in these stories rarely advance plot; instead they reveal what characters withhold. The American answers Foley’s questions “with the usual shyness,” but the content is banal—travel dates and college arrangements. What matters is the gap between what is said and what is felt. In “The Will to Live,” dialogue is similarly oblique. When Arthur tells himself “Good old ruin,” the phrase is half-aloud, a private exclamation that the reader overhears but other characters do not. Smith uses such fragments to suggest inner turmoil without explicit confession. The effect is a world where speech is a performance, and true feeling emerges in asides or silences.
Structure and the Unfinished Journey
Several stories hinge on journeys that are interrupted or incomplete. “A Broken Journey” begins with Arthur waiting at Paddington, the train’s departure described in sensory detail: “the shaking and noise of travel,” the “green flag was waved.” Yet the journey’s purpose—a meeting with a woman—is never directly stated; instead, Smith gives us Arthur’s fantasies of “a dog-cart, with shining bay horse” and the anticipation of “pretended indifference.” The narrative withholds the arrival, ending before the encounter. This structural choice mirrors the characters’ inability to commit or connect. Similarly, “The Youth of Parnassus” ends with the American still an outsider, his integration unresolved.
Recurring Details: Umbrellas, Mirrors, and Trains
Smith seeds his stories with objects that carry emotional weight. The umbrella in the opening story is not just a prop; its “undecided motion” and later collapse signal the American’s awkwardness. In “A Broken Journey,” Arthur looks at himself in the mirror, “caressing his slight moustache,” a gesture of vanity and nervousness. Trains appear repeatedly—not as mere transport but as spaces of liminality. The wheels beat “an unquiet and delicious measure” that echoes Arthur’s excitement. These recurring details create a cohesive texture across the collection, linking disparate characters through shared modes of perception. Smith’s world is one where objects and movements speak louder than direct statement.
Readers attentive to Smith’s craft will find a writer more interested in the spaces between words than in dramatic action. His characters are defined by what they almost say, by the objects they handle, and by the journeys they begin but do not complete. The collection rewards slow reading: notice the weight of a single adjective, the rhythm of a hesitant reply. These stories do not offer resolution, but they do offer a precise, unsentimental portrait of young men caught between desire and restraint.
I’ve always been fond of that old Parnassus collection—those young men, so caught between what they say and what they feel, as if language itself were a shyness. It puts me in mind of another quiet volume, Quintus Oakes: A Detective Story — Edition Insights, where the same hush hangs over every clue. Both hold their secrets patiently, waiting for a reader who listens.
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