Back o' the Moon, and other stories — Text and Context

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Onions, Oliver, 1873-1961 Project Gutenberg 2015 Not confirmed
Great Britain -- History -- 18th century -- Fiction; Short stories, English; West Riding of Yorkshire (England) -- Fiction Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 86,696
Reading time 377 min
Text sections 7

This digital edition of Back o' the Moon, and other stories — Text and Context is described by source-level measurements including 86,696 words, 6 hr 17 min estimated reading time, and 7 detected text sections.

The text analysis averages about 18.2 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 “Great Britain -- History -- 18th century -- Fiction,” connecting these edition facts with the source record’s subject description.

Oliver Onions' 1906 collection centers on the West Riding of Yorkshire during the 18th century, with the title story depicting military tension in a mill town. The excerpts show crowd dynamics, local dialect, and precise physical detail, though the catalog subject 'Great Britain -- History -- 18th century -- Fiction' is only partially supported by the provided text.
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  • Source metadata20 pts
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irst general cloth-market of the spring. They had come in with their oilskin budgets of grey cloth on their shoulders, and their mastiffs and terriers and lurchers at their heels; and such as had risen while it was yet night bore the lanterns that they had now extinguished. The air was misty and chill, and the hills grey, and a thin vapour of breathing lay over all the market-place; but a brightness trembled in the haze, and the hoarse calling of the Horwick cocks and the fainter crowings that answered them over the misty heights made a cheerful din. The two long pieceboards, not yet dried of the night’s damp, were stacked with the bales and budgets, and the weavers leaned against them and ate their breakfasts as they talked. On the cobbles of the “Cross Pipes,” opposite the Piece Hall, packmen were loosing the wame-tows of a string of horses. By the winding Fullergate the merchants and dyers arrived, and there mingled with the noises of the market and of the morning the incessant light pattering of wood-soled clogs on the hard earth.

Under the arches of the raised Piece Hall the fullers and dyers and merchants moved, and the arcades sounded with the shuffle of their leather shoes and the hum of their voices as they discussed the arrival of the new Supervisor of Excise, now breakfasting in the “Cross Pipes” opposite. The bailiff’s books, wherein he entered his proper market charges, lay unopened on the small table at the top of the steps, and his two clerks moved among the Back o’ th’ Mooiners at the pieceboards. The square stone pillars were placarded with lists, broadsheets, handbills and public notices, and against the pillar immediately behind the bailiff’s table Matthew Moon, the merchant, leaned.

His fists were doubled deep in his breeches pockets, and his brow was closely contracted. He was forty, heavily built, with a square and solid head. As he moved slightly, there showed over the brown homespun of his shoulder one corner of a proclamation. The royal arms were visible, and the letters, plain and heavy and black, “COIN....” He moved again, and the letters became hidden.

There advanced to the bailiff’s table and flung one leg over it, a huge red man. He was red-haired, red-faced, red-whiskered, red as a red setter, and on his head was a cap of red foxskin. The table creaked beneath his weight, and the spread-out of his buckskin-covered thigh hid half the width of it. An old coat, of a wide and flaring cut, seemed to add even more to his bulk, and it was spotted with stains of vivid orange, apparently the eating of some acid. His accent, as he spoke, was not the curt and grudging accent of those parts.

“So we’ve got William Huggins’s successor, Matthew,” he said cheerfully; “have you seen him yet?”

As Matthew Moon moved slightly again, the “....ING” of the proclamation showed.

“Nor I. Well, we must entertain him. King’s Excise or not, William Huggins was always companionable. A fair show of the lads here. You’ll be at the meeting to-night?”

The merchant grunted. Presently he said, “What sort o’ man does Sally say he is?”

“I don’t know. Sally’s out of heart, with Jim and Haigh all these months in York. Small wonder.”

Matthew Moon frowned again, and was silent for a minute. Then he looked up and said, “Ye said entertainment, Arthur. Supervisors must take their chance o’ that. Don’t start taking it heady. Tongues tie knots that teeth can’t loose, and we don’t want the speech and confession of Arthur Monjoy yet. Two in York’s enough. Shall I be at the meeting? Yes; but don’t go and take things too headstrong.”

The big man laughed. “If I remember, they wanted to set the dogs on Huggins at first; none of that,” he said; and as the merchant moved away the whole word “COINING” showed on the stone pillar.

The title story of Oliver Onions' 1906 collection opens with a scene of urgent movement: a woman named Cicely is sent to Wadsworth via 'near cuts and bypaths' while soldiers march below to Webster's stackyard. The narrative quickly establishes a community under pressure—'Back o' th' Mooiners' assemble in bands, a town meeting is held in the Piece Hall, and soldiers who claim admittance 'by order' are bundled out. Onions renders the crowd's temper through specific actions: stone-throwing up the Fullergate, a deputation waiting on a commander who shakes 'with silent mirth,' and the precise mechanics of searching haystacks with ladders and bayonets. The prose favors concrete verbs and local jargon over exposition, immersing the reader in a fraught moment of 18th-century Yorkshire life.

Crowds and Confrontation in the Excerpts

The provided passage from 'Back o' the Moon' centers on a military search for a fugitive, but Onions devotes more attention to the crowd's collective behavior than to individual heroics. The mob is described as 'swaying like a flood,' 'tingling for quarrel,' and surging through a breach in the red-coated line after a cudgel crosses a bayonet. The officer's order to 'Throw the ricks down' provokes a storm of 'remonstrances, oaths, cries'—a chorus of protest that feels communal rather than personal. Onions specifies that 'the disturbing of a sitting hen would have served' as a pretext for violence, suggesting a simmering readiness for conflict. The scene's power lies in its physical details: the ladder placed against a stack, a man crawling under a wooden roof with a pistol, the 'three rhythmic movements' of musket-locks. These elements build tension without relying on interior monologue or authorial commentary.

Local Speech and Setting as Character

Onions embeds Yorkshire dialect and place-names into the narrative without glossing them. Characters refer to 'Back o' th' Mooin' (a phonetic rendering of 'Back o' the Moon'), the Piece Hall, Fullergate, and Wadsworth—all real locations in the West Riding. The dialogue is sparse but pointed: 'He'll ha' little time to use a pistol if Arthur gets a hand on him i' yonder,' mutters a watcher. The narrator uses terms like 'nicely-settled hay' and 'three-quarters cut old one' for the stacks, grounding the conflict in agricultural routine. The setting is not merely backdrop but an active force: the stackyard, the bypaths, the upper chamber of the Piece Hall all shape the action. This specificity aligns with the catalog subject 'West Riding of Yorkshire (England) — Fiction,' though the excerpts do not confirm the broader 'Great Britain — History — 18th century' framing beyond this single military episode.

What the Catalog Subjects Omit

The catalog lists 'Great Britain — History — 18th century — Fiction' as a primary subject, but the excerpts offer no explicit historical markers—no dates, named battles, or references to national events. The soldiers' presence and the mention of 'Cope' (likely General John Cope, active in the 1745 Jacobite rising) hint at a specific historical context, but the text does not confirm it. The catalog also assigns 'Adventure & Picaresque Fiction' as the category, yet the excerpted scene is more about collective resistance than individual adventure; the protagonist Cicely is dispatched early and does not reappear in the passage. The 'short stories, English' subject is accurate for the collection, but the excerpts only show one story. Readers should approach the catalog subjects as broad pointers rather than precise descriptions of the book's content or tone.

Readers of this edition will find a narrative that rewards attention to physical detail and local speech. The excerpts suggest that Onions builds tension through crowd dynamics and precise observation rather than psychological depth or historical exposition. Those expecting a straightforward adventure story may instead encounter a textured, communal portrait of a Yorkshire community under pressure. The collection's other stories likely extend this approach to different settings and conflicts within the same region.

Reading Onions’ mill-town unrest, I kept thinking how odd it is that we remember crowds so vividly and individuals so faintly. That same ache surfaces in Dominie Dean: A Novel — Text and Context, where one quiet voice tries to hold its own against the noise of a changing place. Both feel like old photographs, faded at the edges but sharp where it matters.

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