A Madeira Party — Key Ideas to Explore

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Mitchell, S. Weir (Silas Weir), 1829-1914 Project Gutenberg 2013 Not confirmed
Philadelphia (Pa.) -- History -- 19th century -- Fiction; Paris (France) -- History -- 19th century -- Fiction Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 26,868
Reading time 117 min
Text sections 4

The catalog record for A Madeira Party — Key Ideas to Explore provides practical reading context through 26,868 words, 1 hr 57 min estimated reading time, and 4 detected text sections.

The text analysis averages about 16.2 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 “Philadelphia (Pa.) -- History -- 19th century -- Fiction,” connecting these edition facts with the source record’s subject description.

An 1895 frame narrative in which four Philadelphia gentlemen share wine and stories, including a French aristocrat's harrowing account of hiding from revolutionaries in a wine cellar.
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Editorial Edition Score 4.5/5

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  • 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.

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Produced by Al Haines.

_M.D., LL.D. (Harv.)_

_Author of "Characteristics" "When all the Woods are Green" Etc., Etc._

_New York The Century Co. 1895_

Copyright, 1895, By THE CENTURY CO.

A MADEIRA PARTY "A LITTLE MORE BURGUNDY"

Sometime early in the second quarter of the century, in the City of Penn, and in what was then known as Delaware-Fourth street, soon after dusk in the evening, occurred the unimportant events of which I shall speak.

The room was paneled in white three feet up from the floor, and above this a fox-hunt was repeated in lively colors on every square of the paper which covered the walls. Great hickory logs, ablaze on the deep hearth, cast rosy light on a mantelpiece, in the style of the Directory, pretty with Cupids in relief dragging chariots through a tangle of roses. A similar pattern on the ceiling resembled what a visitor to the Zoölogical Gardens may see to-day in the small yellow house called "Solitude," where Mr. Penn is said to have been agreeably naughty and by no means solitary.

Silver candlesticks lighted a table laid for four, and their light fell on buff and gold Nankin china, glass, and glistening plate. A negro servant, well on in years, dark as the mahogany he loved to polish, with fine contrast of very white hair, moved to and fro in the room. His task was clearly grateful. To adjust a fork, snuff a wick, flick the dust off a carved Cupid, evidently gave him a certain grave pleasure. At last, retreating a little with head on one side, artist-like, he considered for a moment the table and the setting. This final survey appeared to be entirely to his liking, for with a smile of satisfaction he turned to inspect a row of decanters on the mantel. One by one he lifted them gently, saw that the glass was clean, and for a moment looked through each decanter in turn as he held it before the light of a candelabrum on the side-table. The necessity to present a wine absolutely free from sediment he very well knew. But it is probable that he also found distinct pleasure in the brilliant garnets and varied amber tints of the several wines before him; for he possessed, like most of his race, an appreciative joy in color, and had, too, more or less artistic pleasure in the perfection of the gleaming table and its perfect appointments. At last he turned to consider the question of the temperature of the precious wines in his charge. Once or twice, when to his touch a decanter seemed too cool, he lifted it with care, moved it to the hearth, and after turning it about before the fire set it back on the mantel. Finally he looked up at the tall Wagstaffe clock in the corner, compared with it a huge silver watch which he took from his fob, and throwing open a pair of mahogany doors, stood aside as four gentlemen entered the room. Each, as he went by, spoke a kindly word to the old servant. I can fancy the party made a quaint and pleasant picture in the old-fashioned chamber, with their close-fitting nankeen pantaloons, ample shirt-ruffles, voluminous neckties, and brass-buttoned blue coats.

"Pray be seated," said Hamilton. "Sit on my right, Chestnut. I wish to see that my good wine is not wasted. Your first Madeira-drinking will seem strange to you. Thirty years away in Europe! Why, you were but a boy when you left us! Well, we are glad to have you back again."

"And I as pleased to be at home," said Chestnut. As he spoke he noted with the readiness of a close observer of social life the gentlemen about him as they settled themselves at table with an obvious air of contentment. One, a strangely slight and very ruddy old man, after adjusting his napkin with care over his waistcoat, said, as he looked up, "Well, well, you have lost a good deal of time."

"That is sadly true," said the stranger guest. "I have tasted no Madeira these twenty years."

"Then I fear, my friend, from what Hamilton tells me, that you will hardly appreciate the charm of one of these little occasions."

"But how could I? And still, let me assure you, my dear Mr. Wilmington, that the importance of the opportunity will not be lost on me, nor the good wine either, sir."

The story begins not with action but with an elaborate description of a room: white paneling, a fox-hunt wallpaper, hickory logs, and a mantelpiece decorated with Cupids. A elderly Black servant, described as taking "grave pleasure" in his tasks, polishes decanters and checks the temperature of wines before four gentlemen enter. The narrator names one as Hamilton, and the men sit down to a meal. The opening establishes a tone of leisurely, sensual detail—light on silver, amber tints of wine, the servant's "appreciative joy in color." This is a story that values atmosphere and ritual as much as plot.

A Frame for Storytelling

The excerpts show that A Madeira Party uses a frame structure: a dinner party in Philadelphia during the early nineteenth century provides the occasion for tales told by the guests. The opening scene lingers on the setting—"Delaware-Fourth street," a room with a Wagstaffe clock, Nankin china—before any conversation begins. The narrative voice is that of a retrospective observer who says "I can fancy the party made a quaint and pleasant picture." This framing device allows the author to embed other stories within the main narrative, as seen when one guest, addressed as "Duke," begins a lengthy account of his past.

The Duke's Story: Terror in a Cellar

The longest excerpt shifts abruptly from the genteel dinner to a first-person account of the French Revolution. The Duke describes hiding in a cellar with his mother, baby sibling, and another man after his father is arrested. The prose becomes stark: "we sat still in the darkness, which seemed to grow deeper." Details like flint and steel, a candle that "made things look the more dismal," and the baby's cries create a claustrophobic atmosphere. The Duke recalls his father's last words—"Be good to thy mother"—and the sound of barrel-staves falling on the trap door. This embedded story contrasts sharply with the opening's calm luxury.

Wine as a Linking Motif

Throughout the excerpts, wine serves as both a literal presence and a narrative device. The opening focuses on the servant's care for decanters, checking for sediment and temperature. Later, during the Duke's story, wine appears again: his father had prepared a cellar with "an abundance" of wine, and the Duke himself pauses his tale to ask a young man to "draw the corks of these bottles." The Duke's listener, St. Maur, complies, and the Duke remarks on the bouquet of a Chambertin. These details tie the frame story to the embedded one, suggesting that the act of sharing wine enables the sharing of memories.

Voice and Historical Setting

The excerpts reveal two distinct narrative voices. The frame narrator uses a formal, slightly archaic style: "Sometime early in the second quarter of the century, in the City of Penn." The Duke's voice, by contrast, is more direct and emotional, with phrases like "It is a sad story, dear Duke" and "I declare to you, it made things look the more dismal." The catalog subjects list Philadelphia and Paris history in the nineteenth century, and the excerpts confirm this dual setting: the frame is set in Philadelphia, while the Duke's story takes place in revolutionary France. The author, S. Weir Mitchell, was a physician and writer known for historical fiction; these excerpts suggest he blends meticulous period detail with personal testimony.

The excerpts offer only the beginning of the Duke's story and the opening of the frame. Readers should expect the dinner party to continue, with other guests likely contributing their own tales. The contrast between the serene Philadelphia parlor and the terror of the French cellar sets up a pattern of juxtaposition that may recur. Pay attention to how the wine ritual—the decanting, the tasting, the commentary—structures the pauses between stories.

Sometimes the quietest kinship hides in shadows—the French aristocrat’s candlelit terror in that cellar, and the brave old whaling log’s salt-stained pages. Both hold men waiting out storms, whispering their truths to empty holds. I think of them as shelf-mates now, sharing a certain solemn hush. There She Blows! Or, The Log of the Arethusa — Themes and Context keeps that same patient breath.

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