An English Squire — Inside the Classic
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The source record for An English Squire — Inside the Classic measures this digital text at 146,142 words, 10 hr 36 min estimated reading time, and 16 detected text sections.
The text analysis averages about 20.0 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 “England -- Social life and customs -- 19th century -- Fiction,” connecting these edition facts with the source record’s subject description.
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She was very untidily though handsomely dressed, and had the awkwardness of a girl too big for her age; but as she stood leaning back against the oak table, there was such vigour and life in her strong young limbs as to give them a kind of grace. She had a low voice of refined quality, but she spoke with a strong north-country accent, as did her father. In the brothers it was much modified by their southern schooling. The twin brother, Robert, retained, however, a good deal of it. He was a heavier, less handsome likeness of her, and might have been described as a fine lad or a great lout, according to the prepossessions of the speaker. The next brother, John, or, as he was usually called, Jack, had, at nineteen, hardly yet outgrown the same ungainliness of manner; but his height, and the strength trained by many an athletic struggle, could not fail to be striking; and though he had something of the same sullen straightness of brow, the eyes beneath were thoughtful and keen. There was no lack of mental power in Jack's grave young face, and he was a formidable opponent to his schoolfellows in contests of brain as well as of muscle.
Cheriton, except that his brows arched a little, so that he could not attain to the perfection of the family frown, and that he was an inch or two shorter and much slighter, was so like Jack that when he was grave and silent his brighter colouring and the moustaches to which he had attained were, at first sight, the chief points of difference between them. But then Jack's face to-day would be his face to-morrow, while Cheriton's expression varied with almost every word he spoke, so that he was sometimes said to be the image of his father, sometimes to be the one Lester who was like nobody but himself; while, now and then old friends wondered how this handsome young man came to have such a look of the mother, who had been no beauty, but only a high-minded and cultivated woman. He was his father's favourite, and somehow his brothers were not jealous of the preference. "Cherry," as they called him, was the family oracle, though he risked his place now and then when his utterances were not in accordance with the prevailing sentiment.
Mr Lester's expression was now dark enough to indicate annoyance of no common kind; but it did not take much to make him look cross, and if his sons and daughter had not known that there was an unusual speck on the family horizon, they would have surmised that the keepers were in disgrace, the newspaper late in arriving, or that they themselves had unwittingly transgressed.
As it was they were all silent, though Cheriton looked up with a question in his eyes, and the twins glanced at each other.
"I have had a letter from--your brother; he has started on his journey, and will be here in a day or two."
No one spoke for a moment, and then Cheriton said,--
"Well, father, I shall be very glad to see him. It's a good time for him to come, and I hope we shall be able to make it pleasant for him."
"Pleasant for _him_," growled Bob.
"It won't be at all pleasant for _us_," said his sister. "Fancy a foreign fellow interfering in all our concerns. And Granny says he's sure to set us a bad example."
"Ay," said the father, "you lads needn't be in too great a hurry to get up an intimacy."
"There's not much fear of that," said Cheriton.
"Ah, my boy," said Mr Lester, turning to him, "you take it very well; but it's hard on you; no one knows better than I do."
"As for me," said Cheriton, with a shade of the characteristic family gruffness in his much pleasanter voice, "you know it has always been my wish that he should come, and why should we set ourselves against it?"
"He ought to have come sooner," said Jack.
"That's no affair of yours, Jack," said his father sharply. "Don't be so ready with your comments. He is coming now, and--and I'll hear no more grumbling. I'm hanged if I know what we are all to make of him, though," he muttered as he left the hall.
"He'd better not interfere with me," said Bob. "I shall take no notice of him."
"Poor fellow!" said Cheriton satirically. "I won't kiss him, I declare," cried his sister.
The opening pages of An English Squire establish a precise sense of place through the description of Oakby Hall, a grey stone mansion set in Westmoreland with a bleak northern front and a single great oak. The narrator notes that to a stranger 'a little doubtful of a welcome' the house 'might perhaps look formidable,' a hint that the story will attend to perceptions and misperceptions among its characters. Within, a blazing fire and abundance of rugs make the hall 'the most attractive place in the house, both for dogs and men,' especially during the twilight hours when the day's work or amusement is discussed.
Contrasts in Character and Appearance
The author uses physical description and dialogue to draw a sharp contrast between the two Lester brothers. Alvar is described as having a 'grave, graceful look' and is likened to 'a walking picture' who 'can't be awkward.' Cheriton, by contrast, is sketched lying on the deck while Alvar leans over him. When the artist Mr. Stanforth remarks that their faces are 'in the same mould' but differ in 'colour, and still more, the character,' Cheriton agrees, adding that this holds true 'of more than our faces.' Cheriton's own speech reveals a deliberate rejection of refinement: he declares he does not care to have his rooms 'like a lady's drawing-room' and values outdoor exercise over intellectual amusements, which he regards 'with suspicion.'
The Role of Art and Observation
Art functions both as a plot device and a lens for character. Mr. Stanforth, a painter, carries a sketchbook containing drawings of the Lester brothers. When Cheriton recognizes the name 'Raymond Stanforth' on the book's first page, he is embarrassed to have praised the artist's work without knowing his identity. Stanforth's sketches capture not only likeness but character: he has drawn Alvar with a 'grave, graceful look' and Cheriton in a pose that highlights the contrast between the two. The episode underscores how observation and artistic representation reveal inner qualities that dialogue alone might miss. Cheriton's initial ignorance of Stanforth's reputation also points to his own limited engagement with the arts.
Family Dynamics and the Weight of Home
The Lester family is presented as deeply attached to Oakby, yet the narrative hints at tensions beneath the surface. The epigraph for Part One—'A little more than kin, and less than kind'—suggests familial relationships that are strained or ambiguous. The young Lesters return from school and college to 'the dearest of homes,' but the house's 'bleak and cold' northern front and the 'stone wolf of somewhat forbidding aspect' at the entrance imply a certain harshness. The photograph case Cheriton shows Mr. Stanforth contains 'a long row of handsome Lesters' ending with dogs, horses, and a view of the front door with Nettie holding a dog on one of the stone wolves—a domestic image that mixes affection with the family's emblematic severity.
Diction and the Texture of Everyday Speech
Coleridge's dialogue is marked by a careful naturalism that reveals class and character. Cheriton's speech is colloquial and self-deprecating: 'I don't think I'm fit to sit for my picture' and 'I don't see what a fellow wants in his room but an armchair and a place for his books, and a good fire.' His apology to Stanforth—'Pray don't think I am so ignorant as not to know your pictures'—shows a blend of pride and deference. The narrator's own voice is measured, often noting what characters do not think: 'No such thought ever crossed the minds of the young Lesters' about the house's bleakness. This technique of negative description subtly underscores the gap between the family's internal warmth and external perceptions.
Readers attentive to the novel's verbal texture will find that Coleridge builds character through small, precise choices in dialogue and description rather than through dramatic action. The contrast between the brothers, the role of the artist as observer, and the weight of the family home are all established in the opening chapters with economy and restraint. The excerpts suggest a work more concerned with the nuances of feeling and perception than with plot mechanics.
There is a particular restlessness in Cheriton, that suspicion of the quiet life of the mind, which I have always felt echoes in the crowded, gas-lit streets of The Mysteries of London, v. 1/4 — Reading Companion. Both books measure the same unease: how the soul's true drama happens outside the library walls.
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