Red and White: A Tale of the Wars of the Roses — Text and Context

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Holt, Emily Sarah, 1836-1893 Project Gutenberg 2013 Not confirmed
Historical fiction; Great Britain -- History -- Wars of the Roses, 1455-1485 -- Fiction Readers of public-domain and historical texts
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Edition facts

Words 73,644
Reading time 321 min
Text sections 12

This digital edition of Red and White: A Tale of the Wars of the Roses — Text and Context is described by source-level measurements including 73,644 words, 5 hr 21 min estimated reading time, and 12 detected text sections.

The text analysis averages about 17.5 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 “Historical fiction,” connecting these edition facts with the source record’s subject description.

Emily Sarah Holt's novel follows the intertwined fates of the Frideswide and Dorathie sisters amid the Wars of the Roses, contrasting personal faith with political chaos. The narrative opens with a whispered exchange about departure, setting a tone of intimate loss against the backdrop of shifting loyalties and royal intrigue.
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Editorial Edition Score 4.8/5

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r she rarely had one from that quarter: still, in the days when girls were expected to be silent statues in the august presence of their elders, she might reasonably have feared for the result of her whispered colloquy with Frideswide.

"What ails my little Doll?" gently asked the old lady.

"An’t please your good Ladyship, you said Frid and Annis[#] should both go away hence."

[#] Annis, or more correctly Anneyse, is the old French form of Agnes, and appears to have been used in the Middle Ages, in England, as an affectionate diminutive. Some have supposed Annis to be a variety of Anne, and have therefore concluded that Anne and Agnes were considered the same name. This, I think, is a mistake. Annas is the Scottish spelling.

"We did, my little maid. Is our Doll very sorry therefor?"

"I shall be all alone!" sobbed Dorathie.

"’All alone!’" repeated her grandmother with a smile, which was pitying and a little sympathetic. "Little Doll, there be fourteen in this house beside Frideswide and Agnes."

"But they are none of them _them_!" said Dorathie.

"Aye. There is the rub," answered her grandmother. "But, little maid, we all have to come to that some time."

"’Tis as well to begin early, Doll," said her uncle.

"Please it you, Uncle Maurice," replied Dorathie, rubbing the tears out of her eyes with her small hands, "I’d rather begin late!"

Her father laughed. "Folks must needs go forth into the world, Doll," said he. "Thou mayest have to do the like thine own self some day."

"Shall I so?" asked Dorathie, opening her eyes wide. "Then, an’ it like your good Lordship, may I go where Frid and Annis shall be?"

"Thou wilt very like go with Frid or Annis, it we can compass it," replied her father; "but they will not be together, Doll."

"Not together!" cried Dorathie in a tone of disappointed surprise.

"Nay: Frideswide goeth to my good Lady of Warwick at Middleham; and Agnes to London town, to serve my Lady’s Grace of Exeter in her chamber."

"Then they’ll be as unhappy as me!" said Dorathie, with a very sorrowful shake of her head. "I thought they were going to be happy."

"They shall be merry as crickets!" answered her father. "My Lady of Warwick hath two young ladies her daughters, and keepeth four maidens in her bower; and my Lady’s Grace of Exeter hath likewise a daughter, and keepeth other four maids to wait of her. They are little like to be lonely."

Her grandmother understood the child’s feeling, but her father did not. And Dorathie was dimly conscious that it was so. She dropped another courtesy, and crept back to Frideswide in the window-seat,—not comforted at all. There they sat and listened to the conversation of their elders round the fire. Frideswide was sewing busily, but Dorathie’s hands were idle.

The season was early autumn, and the trees outside were just beginning to show the yellow leaf here and there. The window in which the two girls sat, a wide oriel, opened on a narrow courtyard, in front of which lay a garden of tolerable size, wherein pinks, late roses, and other flowers were bowing their heads to the cool breeze of the Yorkshire wolds. The court-yard was paved with large round stones, not pleasant to walk on, and causing no small clatter from the hoofs of the horses. A low parapet wall divided it from the garden, which was approached by three steps, thus making the court into a wide terrace. Beyond the garden, a crenellated wall some twelve feet high shut out the prospect.

What it shut out beside the prospect was a great deal, of which little was known to Frideswide, and much less to Dorathie. They lived at a period of which we, sheltered in a country which has not known war for two hundred years, can barely form an adequate idea. For fourteen years—namely, since Frideswide was five years old, and longer than Dorathie’s life—England had been torn asunder by civil warfare. Nor was it over yet. The turbulent past had been sad enough, but the worst was yet to come.

Never, since the cessation of the Heptarchy, had a more terrible time been seen than the Wars of the Roses. In this struggle above all others, family convictions were divided, and family love rent asunder. Father and son, brother and brother, uncle and nephew, constantly took opposite sides: and every warrior on each side was absolutely sure that all shadow of right lay with his candidate, and that the "rebel and adversary" of his chosen monarch had not an inch of ground to stand on.

The novel opens not with a clash of armies but with a whispered exchange between two sisters on a window-seat. Little Dorathie, her blue eyes brimming with tears, asks Frideswide if she is truly leaving. The reply comes as a silent nod. This intimate moment of impending separation—'I shall be all alone! Whatever must I do?'—immediately establishes the human cost of the dynastic conflict that frames the story. Holt's preface frames the Wars of the Roses as a 'thunderstorm' that cleared the political air for the Reformation, but for the women caught in it, she suggests, the struggle risked becoming a 'meaningless agony.' The novel thus promises to explore not the grand strategies of kings but the quiet devastations and small acts of faith that persist when 'the key of the world has dropped out of his hand.'

Sisters in a Fractured World

The opening chapter, 'The Fledglings Leave the Nest,' introduces a household on the verge of dispersal. Frideswide's silent, affirmative nod to Dorathie's question—'Be you going hence?—verily going?'—is a gesture that speaks louder than words. When Dorathie protests that being useful is not the same as being happy, Frideswide counters: 'Being useful is being happy.' This exchange encapsulates a central tension in the novel: the struggle to find meaning and connection when the structures of family and home are broken by political upheaval. The sisters' dialogue, with its simple vocabulary and emotional directness, contrasts sharply with the intricate legal and historical discussions that appear later in the excerpts, such as the detailed account of the Beaufort succession. Holt uses these intimate scenes to ground the reader in the personal stakes of the conflict, reminding us that for every nobleman maneuvering for power, there are women and children left to navigate the aftermath.

The Weight of History and Prophecy

Holt weaves historical exposition directly into the narrative, but she does so with a specific purpose: to highlight the ironies and uncertainties of the period. The appendix-like passage on the Beauforts' legitimation and the prophecy attributed to Henry VI—'this is he to whom both we and our adversaries must submit'—serves not merely as background but as a commentary on how contemporaries understood their own moment. The author notes that Henry's 'predisposition to insanity' was seen in the Middle Ages as a sign of divine communication, a detail that adds a layer of ambiguity to the prophecy. Is it inspired or merely the product of a disordered mind? Holt leaves the question open, inviting readers to consider how easily political necessity and superstition can intertwine. The careful citation of the Patent Roll (20 Ric. II., Part 2) and the note about the over-lined words 'the royal dignity excepted' reveal a novelist attentive to the nuances of historical evidence, even as she shapes it into fiction.

Silence and Speech as Narrative Devices

Throughout the excerpts, Holt employs silence as a powerful counterpoint to dialogue. Frideswide's 'uncompromising nod' and the 'hushing finger' she raises to Dorathie communicate volumes without words. This restraint is mirrored in the historical sections, where the authorial voice refrains from overt moralizing, allowing the facts to speak for themselves. The contrast between the sisters' whispered exchange and the formal, almost legalistic language of the historical appendix creates a deliberate stylistic tension. It suggests that the novel's true drama lies not in the public record of battles and treaties but in the private spaces where individuals must make sense of a world that has lost its moral compass. Holt's preface warns that without faith in providence, the period becomes a 'passion with no visible end'; her narrative technique—alternating between intimate speech and detached historical summary—enacts that search for meaning in the gaps between what is said and what is left unsaid.

Readers approaching Red and White should attend to the interplay between its two registers: the personal, often whispered conversations of its characters and the dense historical interludes that frame their world. Holt does not resolve the tension between faith and chaos, but she invites us to watch her characters navigate it. Pay particular attention to the moments of silence and gesture—they often carry the emotional weight that the historical record cannot hold.

Reading the whispered farewell that opens Red and White, I remembered my grandmother’s quiet goodbye before a long illness — how small the words were against the upheaval. It felt like sitting with a mystery where the silences matter more than the clues, much as I felt while turning pages late one winter through Great Porter Square: A Mystery. v. 3 — Background and Themes. That book, too, held its breath between discoveries.

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