Captain Blood

- By Rafael Sabatini
Font Size
Italian-British writer (1875–1950) Rafael SabatiniBorn(1875-04-29)29 April 1875Jesi, ItalyDied13 February 1950(1950-02-13) (aged 74)Adelboden, SwitzerlandOccupationNovelistNationalityItalian / EnglishGenreromance, adventureLiterary movementNeo-romanticismNotable worksScaramouche, Captain Blood Rafael Sabatini (29 April 1875 – 13 February 1950) was an Italian-born British writer of romance and adventure novels.[1] He is best known for his worldwide bestsellers: The Sea Hawk (1915), Scaramouche (1921), Captain Blood (a.k.a. Captain Blood: His Odyssey) (1922), and Bellarion the Fortunate (1926). Several of his novels have been made into films, both silent and sound. In all, Sabatini produced 34 novels, eight short story collections, six non-fiction books, numerous uncollected short stories, and several plays. Life as an author[edit] After a brief stint in the business world, Sabatini went to work as a writer. He wrote short stories in the 1890s, and his first novel came out in 1902. It took Sabatini roughly a quarter of a century of hard work before he attained success in 1921 with Scaramouche. The novel, an historical romance set during the French Revolution, became an international bestseller. It was followed the next year by the equally successful Captain Blood. All of his earlier books were then rushed into reprints, the most popular of which was The Sea Hawk (originally published in 1915). Sabatini was a prolific writer, producing a new book approximately every year. With his high output and well-crafted stories he was able to maintain his popularity with the reading public through the decades that followed.[1] In the early 1940s illness forced Sabatini to slow his prolific writing. He only published three more books before his death in 1950: King in Prussia (also known as The Birth of Mischief, 1944), Turbulent Tales (a collection of shorts, 1946), and The Gamester (1949). Personal life[edit] Rafael Sabatini was born in Jesi, Italy, to an English-speaking mother, Anna Trafford, and Italian father, Vincenzo Sabatini. His parents were opera singers who then became teachers.[1] At a young age Sabatini was exposed to many languages living with his grandfather in Britain. He attended school in Portugal, and as a teenager in Switzerland. By the time he was 17, when he returned to Britain to live permanently, he had become proficient in five languages. He quickly added a sixth language – English – to his linguistic collection. He consciously chose to write in his adopted language, because, he said, "all the best stories are written in English".[2] In 1905, he married Ruth Goad Dixon, the daughter of a Liverpool merchant. They had a son, Sabatini's only son, Rafael-Angelo (nicknamed Binkie). He was killed in a car crash on 1 April 1927. In 1931, Sabatini and his wife Ruth divorced. Later that year he moved from London to Clifford, Herefordshire, near Hay-on-Wye. In 1935, he married the sculptor Christine Dixon (née Wood), his former sister-in-law. They suffered further tragedy when Christine's son, Lancelot Steele Dixon, was killed in a flying accident on the day he received his RAF wings in 1940;[3] he flew his aeroplane over his family's house, but the plane went out of control and crashed in flames right before the observers' eyes.[1] Sabatini died in Switzerland 13 February 1950. He was buried in Adelboden, Switzerland. On his headstone his wife had written, "He was born with a gift of laughter and a sense that the world was mad", the first line of Scaramouche.[4] Film adaptations[edit] Sound films[edit] Several of his novels were made into notable films in the sound era: Scaramouche in 1952, Captain Blood in 1935, and The Black Swan in 1942. The 1940 film The Sea Hawk, with Errol Flynn, is not a remake but a wholly new story which just used his novel’s title. Silent films[edit] His novel Bardelys the Magnificent was made into a famous 1926 "lost" film of the same title, directed by King Vidor, starring John Gilbert, and long viewable only in a fragment excerpted in Vidor's silent comedy Show People (1928). All but one of the reels of Bardelys were rediscovered in France in 2006, and a restoration (with production stills standing in for the missing reel) was completed in 2008.[5] A silent version of The Tavern Knight (1920) was made in England. A silent version of Captain Blood (1924), directed by David Smith and starring J. Warren Kerrigan, which was one of the last productions of the Vitagraph Company of America, survives in the Library of Congress, and two other silent adaptations of Sabatini novels which survive in other archives are Rex Ingram's Scaramouche (1923) starring Ramón Novarro at the George Eastman Museum, and Frank Lloyd's The Sea Hawk starring Milton Sills at the UCLA Film and Television Archive. Works[edit] Series[edit] Scaramouche[edit] Scaramouche (1921), a tale of the French Revolution in which a fugitive hides out in a commedia dell'arte troupe and later becomes a fencing master. Scaramouche the King-Maker (1931), Sabatini wrote this sequel after ten years. Captain Blood[edit] Tales of the Brethren of the Main (a series of short stories first published in Premier Magazine from 1920–1921)[a] Captain Blood (also known as Captain Blood: His Odyssey, 1922), in which the title character escapes from unjust slavery to become admiral of a fleet of pirate ships.[6] Captain Blood Returns (also known as The Chronicles of Captain Blood, 1931)[b][c] The Fortunes of Captain Blood (1936)[b] Other Novels[edit] The Lovers of Yvonne (also known as The Suitors of Yvonne, 1902) The Tavern Knight (1904) Bardelys the Magnificent (1906) The Trampling of the Lilies (1906) Love-At-Arms: Being a narrative excerpted from the chronicles of Urbino during the dominion of the High and Mighty Messer Guidobaldo da Montefeltro (1907) The Shame of Motley (1908) St. Martin's Summer (also known as The Queen's Messenger, 1909) Mistress Wilding (also known as Anthony Wilding, 1910) The Lion's Skin (1911) The Strolling Saint (1913) The Gates of Doom (1914) The Sea Hawk (1915), a tale of an Elizabethan Englishman among the pirates of the Barbary Coast. The Snare (1917) Fortune's Fool (1923) The Carolinian (1924) Bellarion the Fortunate (1926), about a cunning young man who finds himself immersed in the politics of fifteenth-century Italy. The Nuptials of Corbal (1927) The Hounds of God (1928) The Romantic Prince (1929) The Reaping (1929) The King's Minion (also known as The Minion, 1930) The Black Swan (1932) The Stalking Horse (1933) Venetian Masque (1934) Chivalry (1935) The Lost King (1937) The Sword of Islam (1939) The Marquis of Carabas (also known as Master-At-Arms, 1940) Columbus (1941) King in Prussia (also known as The Birth of Mischief, 1944) The Gamester (1949) Collections[edit] The Justice of the Duke (1912) The Honour of Varano The Test Ferrante's jest Gismondi's wage The Snare The Lust of Conquest The pasquinade The Banner of the Bull (1915) Turbulent Tales (1946)[d] Posthumous collections[edit] Saga of the Sea (omnibus comprising The Sea Hawk, The Black Swan and Captain Blood, 1953) Sinner, Saint And Jester: A Trilogy in Romantic Adventure (omnibus comprising The Snare, The Strolling Saint and The Shame of Motley, 1954) In the Shadow of the Guillotine (omnibus comprising Scaramouche, The Marquis of Carabas and The Lost King, 1955) A Fair Head of Angling Stories (1989) The Fortunes of Casanova and Other Stories (1994, stories originally published 1907–1921 & 1934) The Outlaws of Falkensteig (2000, stories originally published 1900–1902) The Camisade: And Other Stories of the French Revolution (2001, stories originally published 1900–1916) The Evidence of the Sword and Other Mysteries, ed. Jesse Knight (Crippen & Landru, 2006, stories originally published 1898–1916) Plays[edit] Bardelys the Magnificent (with Henry Hamilton)[7] Fugitives[7] In the Snare (with Leon M. Lion)[7] Scaramouche[7] The Rattlesnake (also known as The Carolinian, 1922, with J. E. Harold Terry)[7] The Tyrant: An Episode in the Career of Cesare Borgia, a Play in Four Acts (1925). Borgia was played by Louis Calhern.[8] Anthologies edited[edit] A Century of Sea Stories (1935) A Century of Historical Stories (1936) The Hypnotic Tales of Rafael Sabatini (2024) Nonfiction[edit] The Life of Cesare Borgia (1912) Torquemada and the Spanish Inquisition: A History (original edition 1913, revised edition 1930) The Historical Nights' Entertainment (1917)[e] The night of Holyrood – The Murder of David Rizzio The night of Kirk O'Field – The Murder of Darnley The night of Bertrayal – Antonio Perez and Philip II of Spain The night of Charity – The Case of the Lady Alice Lisle The night of Massacre – The Story of the Saint Bartholomew The night of Witchcraft – Louis XIV and Madame De Montespan The night of Gems – The "Affairs" Of The Queen's Necklace The night of Terror – The Drownings at Nantes Under Carrier The night of Nuptials – Charles The Bold And Sapphira Danvelt The night of Stranglers – Govanna of Naples And Andreas of Hungary The night of Hate – The Murder of the Duke of Gandia The night of Escape – Casanova's Escape From The Piombi The night of Masquerade – The Assassination of Gustavus III of Sweden The Historical Nights' Entertainment – Series 2 (1919)[e] The absolution – Affonso Henriques, first king of Portugal The false Demetrius – Boris Godunov and the pretended son of Ivan the Terrible The hermosa fembra – an episode of the Inquisition in Seville The pastry-cook of Madrigal – the story of the false Sebastian of Portugal The end of the "vert galant" – the assassination of Henry IV The barren wooing – the murder of Amy Robsart Sir Judas – the betrayal of Sir Walter Raleigh His Insolence of Buckingham – George Villiers' courtship of Anne of Austria The path of exile – the fall of Lord Clarendon The tragedy of Herrenhausen – Count Philip Königsmark and the Princess Sophia Dorothea The tyrannicide – Charlotte Corday and Jean Paul Marat The Historical Nights' Entertainment – Series 3 (1938)[e] The king's conscience – Henry VIII and Anne Boleyn Jane the queen – The Lady Jane Grey The 'crooked carcase' – Queen Elizabeth and the Earl of Essex The forbidden fruit – The Marriage of the Lady Arabella Stuart The merchant's daughter – Catherine de' Medici and the Guises The king of Paris – The Assassination of Henri de Guise The tragedy of Madame – The End of Henriette d'Angleterre The vagabond queen – Christine of Sweden and the Murder of Monaldeschi The queen's gambit – Maria-Theresa and the Elector of Bavaria The secret adversary – The Rise and Fall of Johann Frederich Struensee Madam Resourceful – Catherine of Russia and Poniatowski The victor of vendémiaire – Barras' Account of Bonaparte's Courtship of La Montansier Heroic Lives (1934) Notes[edit] ^ Most of the stories were woven together by the author to form Captain Blood, and two that were not were included in Captain Blood Returns. ^ a b N.B. Captain Blood Returns and The Fortunes of Captain Blood are not sequels, but collections of short stories set entirely within the timeframe of the original novel. ^ One of the stories from this collection, "The Treasure Ship", was reprinted as a standalone paperback in 2004. ^ Includes several stories about Alessandro Cagliostro, and one connected to Captain Blood. ^ a b c The Historical Nights' Entertainment stories are 'factions' – truth so far as anyone knows it, embellished with imagination. Some are actually apocryphal, not even history. References[edit] ^ a b c d "Sabatini, Rafael". Oxford Dictionary of National Biography (online ed.). Oxford University Press. doi:10.1093/ref:odnb/37926. (Subscription or UK public library membership required.) ^ Knight, Jesse F.; Darley, Stephen (2010). The Last of the Great Swashbucklers: A Bio-Bibliography of Rafael Sabatini. New Castle, DE: Oak Knoll. ISBN 978-1-58456279-5. ^ [1] CWGC Casualty record Lancelot Steele Dixon ^ Judith Chaffee; Oliver Crick (20 November 2014). The Routledge Companion to Commedia Dell'Arte. Routledge. p. 102. ISBN 978-1-317-61337-4. ^ "Progressive Silent Film List: Bardelys the Magnificent". Silent Era. Retrieved 4 June 2009. ^ "Rafael SABATINI (1875–1950): Captain Blood". Project Gutenberg Australia. ^ a b c d e Who's Who 1926. London: The Macmillan Company. 1926. pp. 2546, 2861. Retrieved 7 July 2016. ^ Lachman, Marvin (2014). The villainous stage : crime plays on Broadway and in the West End. McFarland. ISBN 978-0-7864-9534-4. OCLC 903807427. External links[edit] Rafael Sabatini at Wikipedia's sister projects Media from CommonsQuotations from WikiquoteData from Wikidata Wikisource has original works by or about:Rafael Sabatini Works by Rafael Sabatini in eBook form at Standard Ebooks Works by Rafael Sabatini at Project Gutenberg Works by Rafael Sabatini at Faded Page (Canada) "Works by Rafael Sabatini". Project Gutenberg Australia. Works by or about Rafael Sabatini at Internet Archive Works by Rafael Sabatini at LibriVox (public domain audiobooks) Works by Rafael Sabatini at Open Library RafaelSabatini.com "Sabatini Timeline". Denenberg.com. a chronology of events in Sabatini's works Rafael Sabatini at IMDb Rafael Sabatini Papers, Harry Ransom Center. Authority control databases International FAST ISNI VIAF National Norway Spain France BnF data Catalonia Germany Italy Israel United States Latvia Japan Czech Republic Australia Greece Korea 2 Croatia Netherlands Poland Portugal Vatican Academics CiNii People Deutsche Biographie Trove Other SNAC IdRef
CHAPTER I. THE MESSENGER
Peter Blood, bachelor of medicine and several other things besides, smoked a pipe and tended the geraniums boxed on the sill of his window above Water Lane in the town of Bridgewater. Sternly disapproving eyes considered him from a window opposite, but went disregarded. Mr. Blood's attention was divided between his task and the stream of humanity in the narrow street below; a stream which poured for the second time that day towards Castle Field, where earlier in the afternoon Ferguson, the Duke's chaplain, had preached a sermon containing more treason than divinity.
These straggling, excited groups were mainly composed of men with green boughs in their hats and the most ludicrous of weapons in their hands. Some, it is true, shouldered fowling pieces, and here and there a sword was brandished; but more of them were armed with clubs, and most of them trailed the mammoth pikes fashioned out of scythes, as formidable to the eye as they were clumsy to the hand. There were weavers, brewers, carpenters, smiths, masons, bricklayers, cobblers, and representatives of every other of the trades of peace among these improvised men of war. Bridgewater, like Taunton, had yielded so generously of its manhood to the service of the bastard Duke that for any to abstain whose age and strength admitted of his bearing arms was to brand himself a coward or a papist.
Yet Peter Blood, who was not only able to bear arms, but trained and skilled in their use, who was certainly no coward, and a papist only when it suited him, tended his geraniums and smoked his pipe on that warm July evening as indifferently as if nothing were afoot. One other thing he did. He flung after those war-fevered enthusiasts a line of Horace-a poet for whose work he had early conceived an inordinate affection:
"Quo, quo, scelesti, ruitis?" And now perhaps you guess why the hot, intrepid blood inherited from the roving sires of his Somersetshire mother remained cool amidst all this frenzied fanatical heat of rebellion; why the turbulent spirit which had forced him once from the sedate academical bonds his father would have imposed upon him, should now remain quiet in the very midst of turbulence. You realize how he regarded these men who were rallying to the banners of liberty-the banners woven by the virgins of Taunton, the girls from the seminaries of Miss Blake and Mrs. Musgrove, who-as the ballad runs-had ripped open their silk petticoats to make colours for King Monmouth's army. That Latin line, contemptuously flung after them as they clattered down the cobbled street, reveals his mind. To him they were fools rushing in wicked frenzy upon their ruin.
You see, he knew too much about this fellow Monmouth and the pretty brown slut who had borne him, to be deceived by the legend of legitimacy, on the strength of which this standard of rebellion had been raised. He had read the absurd proclamation posted at the Cross at Bridgewater-as it had been posted also at Taunton and elsewhere-setting forth that "upon the decease of our Sovereign Lord Charles the Second, the right of succession to the Crown of England, Scotland, France, and Ireland, with the dominions and territories thereunto belonging, did legally descend and devolve upon the most illustrious and high-born Prince James, Duke of Monmouth, son and heir apparent to the said King Charles the Second."
It had moved him to laughter, as had the further announcement that "James Duke of York did first cause the said late King to be poysoned, and immediately thereupon did usurp and invade the Crown." He knew not which was the greater lie. For Mr. Blood had spent a third of his life in the Netherlands, where this same James Scott-who now proclaimed himself James the Second, by the grace of God, King, et cetera-first saw the light some six-and-thirty years ago, and he was acquainted with the story current there of the fellow's real paternity. Far from being legitimate-by virtue of a pretended secret marriage between Charles Stuart and Lucy Walter-it was possible that this Monmouth who now proclaimed himself King of England was not even the illegitimate child of the late sovereign. What but ruin and disaster could be the end of this grotesque pretension? How could it be hoped that England would ever swallow such a Perkin? And it was on his behalf, to uphold his fantastic claim, that these West Country clods, led by a few armigerous Whigs, had been seduced into rebellion!
"Quo, quo, scelesti, ruitis?" He laughed and sighed in one; but the laugh dominated the sigh, for Mr. Blood was unsympathetic, as are most self-sufficient men; and he was very self-sufficient; adversity had taught him so to be. A more tender-hearted man, possessing his vision and his knowledge, might have found cause for tears in the contemplation of these ardent, simple, Nonconformist sheep going forth to the shambles-escorted to the rallying ground on Castle Field by wives and daughters, sweethearts and mothers, sustained by the delusion that they were to take the field in defence of Right, of Liberty, and of Religion. For he knew, as all Bridgewater knew and had known now for some hours, that it was Monmouth's intention to deliver battle that same night. The Duke was to lead a surprise attack upon the Royalist army under Feversham that was now encamped on Sedgemoor. Mr. Blood assumed that Lord Feversham would be equally well-informed, and if in this assumption he was wrong, at least he was justified of it. He was not to suppose the Royalist commander so indifferently skilled in the trade he followed.
Mr. Blood knocked the ashes from his pipe, and drew back to close his window. As he did so, his glance travelling straight across the street met at last the glance of those hostile eyes that watched him. There were two pairs, and they belonged to the Misses Pitt, two amiable, sentimental maiden ladies who yielded to none in Bridgewater in their worship of the handsome Monmouth.
Mr. Blood smiled and inclined his head, for he was on friendly terms with these ladies, one of whom, indeed, had been for a little while his patient. But there was no response to his greeting. Instead, the eyes gave him back a stare of cold disdain. The smile on his thin lips grew a little broader, a little less pleasant. He understood the reason of that hostility, which had been daily growing in this past week since Monmouth had come to turn the brains of women of all ages. The Misses Pitt, he apprehended, contemned him that he, a young and vigorous man, of a military training which might now be valuable to the Cause, should stand aloof; that he should placidly smoke his pipe and tend his geraniums on this evening of all evenings, when men of spirit were rallying to the Protestant Champion, offering their blood to place him on the throne where he belonged.
If Mr. Blood had condescended to debate the matter with these ladies, he might have urged that having had his fill of wandering and adventuring, he was now embarked upon the career for which he had been originally intended and for which his studies had equipped him; that he was a man of medicine and not of war; a healer, not a slayer. But they would have answered him, he knew, that in such a cause it behoved every man who deemed himself a man to take up arms. They would have pointed out that their own nephew Jeremiah, who was by trade a sailor, the master of a ship-which by an ill-chance for that young man had come to anchor at this season in Bridgewater Bay-had quitted the helm to snatch up a musket in defence of Right. But Mr. Blood was not of those who argue. As I have said, he was a self-sufficient man.
He closed the window, drew the curtains, and turned to the pleasant, candle-lighted room, and the table on which Mrs. Barlow, his housekeeper, was in the very act of spreading supper. To her, however, he spoke aloud his thought. "It's out of favour I am with the vinegary virgins over the way."
He had a pleasant, vibrant voice, whose metallic ring was softened and muted by the Irish accent which in all his wanderings he had never lost. It was a voice that could woo seductively and caressingly, or command in such a way as to compel obedience. Indeed, the man's whole nature was in that voice of his. For the rest of him, he was tall and spare, swarthy of tint as a gipsy, with eyes that were startlingly blue in that dark face and under those level black brows. In their glance those eyes, flanking a high-bridged, intrepid nose, were of singular penetration and of a steady haughtiness that went well with his firm lips. Though dressed in black as became his calling, yet it was with an elegance derived from the love of clothes that is peculiar to the adventurer he had been, rather than to the staid medicus he now was. His coat was of fine camlet, and it was laced with silver; there were ruffles of Mechlin at his wrists and a Mechlin cravat encased his throat. His great black periwig was as sedulously curled as any at Whitehall.
Seeing him thus, and perceiving his real nature, which was plain upon him, you might have been tempted to speculate how long such a man would be content to lie by in this little backwater of the world into which chance had swept him some six months ago; how long he would continue to pursue the trade for which he had qualified himself before he had begun to live. Difficult of belief though it may be when you know his history, previous and subsequent, yet it is possible that but for the trick that Fate was about to play him, he might have continued this peaceful existence, settling down completely to the life of a doctor in this Somersetshire haven. It is possible, but not probable.
He was the son of an Irish medicus, by a Somersetshire lady in whose veins ran the rover blood of the Frobishers, which may account for a certain wildness that had early manifested itself in his disposition. This wildness had profoundly alarmed his father, who for an Irishman was of a singularly peace-loving nature. He had early resolved that the boy should follow his own honourable profession, and Peter Blood, being quick to learn and oddly greedy of knowledge, had satisfied his parent by receiving at the age of twenty the degree of baccalaureus medicinae at Trinity College, Dublin. His father survived that satisfaction by three months only. His mother had then been dead some years already. Thus Peter Blood came into an inheritance of some few hundred pounds, with which he had set out to see the world and give for a season a free rein to that restless spirit by which he was imbued. A set of curious chances led him to take service with the Dutch, then at war with France; and a predilection for the sea made him elect that this service should be upon that element. He had the advantage of a commission under the famous de Ruyter, and fought in the Mediterranean engagement in which that great Dutch admiral lost his life.
After the Peace of Nimeguen his movements are obscure. But we know that he spent two years in a Spanish prison, though we do not know how he contrived to get there. It may be due to this that upon his release he took his sword to France, and saw service with the French in their warring upon the Spanish Netherlands. Having reached, at last, the age of thirty-two, his appetite for adventure surfeited, his health having grown indifferent as the result of a neglected wound, he was suddenly overwhelmed by homesickness. He took ship from Nantes with intent to cross to Ireland. But the vessel being driven by stress of weather into Bridgewater Bay, and Blood's health having grown worse during the voyage, he decided to go ashore there, additionally urged to it by the fact that it was his mother's native soil.
Thus in January of that year 1685 he had come to Bridgewater, possessor of a fortune that was approximately the same as that with which he had originally set out from Dublin eleven years ago. Because he liked the place, in which his health was rapidly restored to him, and because he conceived that he had passed through adventures enough for a man's lifetime, he determined to settle there, and take up at last the profession of medicine from which he had, with so little profit, broken away.
That is all his story, or so much of it as matters up to that night, six months later, when the battle of Sedgemoor was fought. Deeming the impending action no affair of his, as indeed it was not, and indifferent to the activity with which Bridgewater was that night agog, Mr. Blood closed his ears to the sounds of it, and went early to bed. He was peacefully asleep long before eleven o'clock, at which hour, as you know, Monmouth rode but with his rebel host along the Bristol Road, circuitously to avoid the marshland that lay directly between himself and the Royal Army. You also know that his numerical advantage-possibly counter-balanced by the greater steadiness of the regular troops on the other side-and the advantages he derived from falling by surprise upon an army that was more or less asleep, were all lost to him by blundering and bad leadership before ever he was at grips with Feversham.
The armies came into collision in the neighbourhood of two o'clock in the morning. Mr. Blood slept undisturbed through the distant boom of cannon. Not until four o'clock, when the sun was rising to dispel the last wisps of mist over that stricken field of battle, did he awaken from his tranquil slumbers. He sat up in bed, rubbed the sleep from his eyes, and collected himself. Blows were thundering upon the door of his house, and a voice was calling incoherently. This was the noise that had aroused him. Conceiving that he had to do with some urgent obstetrical case, he reached for bedgown and slippers, to go below. On the landing he almost collided with Mrs. Barlow, new-risen and unsightly, in a state of panic. He quieted her cluckings with a word of reassurance, and went himself to open.
There in slanting golden light of the new-risen sun stood a breathless, wild-eyed man and a steaming horse. Smothered in dust and grime, his clothes in disarray, the left sleeve of his doublet hanging in rags, this young man opened his lips to speak, yet for a long moment remained speechless. In that moment Mr. Blood recognized him for the young shipmaster, Jeremiah Pitt, the nephew of the maiden ladies opposite, one who had been drawn by the general enthusiasm into the vortex of that rebellion. The street was rousing, awakened by the sailor's noisy advent; doors were opening, and lattices were being unlatched for the protrusion of anxious, inquisitive heads.
"Take your time, now," said Mr. Blood. "I never knew speed made by overhaste." But the wild-eyed lad paid no heed to the admonition. He plunged, headlong, into speech, gasping, breathless. "It is Lord Gildoy," he panted. "He is sore wounded... at Oglethorpe's Farm by the river. I bore him thither... and... and he sent me for you. Come away! Come away!"
He would have clutched the doctor, and haled him forth by force in bedgown and slippers as he was. But the doctor eluded that too eager hand. "To be sure, I'll come," said he. He was distressed. Gildoy had been a very friendly, generous patron to him since his settling in these parts. And Mr. Blood was eager enough to do what he now could to discharge the debt, grieved that the occasion should have arisen, and in such a manner-for he knew quite well that the rash young nobleman had been an active agent of the Duke's. "To be sure, I'll come. But first give me leave to get some clothes and other things that I may need."
"There's no time to lose." "Be easy now. I'll lose none. I tell ye again, ye'll go quickest by going leisurely. Come in... take a chair..." He threw open the door of a parlour. Young Pitt waved aside the invitation. "I'll wait here. Make haste, in God's name." Mr. Blood went off to dress and to fetch a case of instruments.
Questions concerning the precise nature of Lord Gildoy's hurt could wait until they were on their way. Whilst he pulled on his boots, he gave Mrs. Barlow instructions for the day, which included the matter of a dinner he was not destined to eat. When at last he went forth again, Mrs. Barlow clucking after him like a disgruntled fowl, he found young Pitt smothered in a crowd of scared, half-dressed townsfolk-mostly women-who had come hastening for news of how the battle had sped. The news he gave them was to be read in the lamentations with which they disturbed the morning air.
At sight of the doctor, dressed and booted, the case of instruments tucked under his arm, the messenger disengaged himself from those who pressed about, shook off his weariness and the two tearful aunts that clung most closely, and seizing the bridle of his horse, he climbed to the saddle. "Come along, sir," he cried. "Mount behind me."
Mr. Blood, without wasting words, did as he was bidden. Pitt touched the horse with his spur. The little crowd gave way, and thus, upon the crupper of that doubly-laden horse, clinging to the belt of his companion, Peter Blood set out upon his Odyssey. For this Pitt, in whom he beheld no more than the messenger of a wounded rebel gentleman, was indeed the very messenger of Fate.

Current Page: 1

Word Lists:

Agog : very eager or curious to hear or see something

Paternity : (especially in legal contexts) the state of being someone's father

Disarray : a state of disorganization or untidiness

Disgruntled : angry or dissatisfied

Muted : (of a sound or voice) quiet and soft

Surfeit : an excessive amount of something

Turbulence : violent or unsteady movement of air or water, or of some other fluid

Unsightly : unpleasant to look at; ugly

Haughtiness : the appearance or quality of being arrogantly superior and disdainful

Sedulous : (of a person or action) showing dedication and diligence

More...

Additional Information:

Rating: C Words in the Passage: 3094 Unique Words: 1,100 Sentences: 154
Noun: 864 Conjunction: 274 Adverb: 164 Interjection: 2
Adjective: 197 Pronoun: 294 Verb: 557 Preposition: 413
Letter Count: 13,683 Sentiment: Positive / Positive / Positive Tone: Neutral Difficult Words: 713
EdSearch WebSearch
Questions and Answers

Please wait while we generate questions and answers...

Ratings & Comments

Write a Review
5 Star
0
0
4 Star
0
0
3 Star
0
0
2 Star
0
0
1 Star
0
0
0

0 Ratings & 0 Reviews

Report an Error