The Copperhead — Reading Notes

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Frederic, Harold, 1856-1898 Project Gutenberg 2014 Not confirmed
United States -- Social life and customs -- 19th century -- Fiction; New York (State) -- History -- Civil War, 1861-1865 -- Fiction Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 40,606
Reading time 177 min
Text sections 4

For The Copperhead — Reading Notes, the stored edition analysis reports 40,606 words, 2 hr 57 min estimated reading time, and 4 detected text sections.

The text analysis averages about 19.4 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 “United States -- Social life and customs -- 19th century -- Fiction,” connecting these edition facts with the source record’s subject description.

Harold Frederic's 1893 novel uses a first-person narrator to trace the social isolation of Abner Beech, a New York farmer who opposes the Civil War. The prose relies on precise physical description, regional dialogue, and small-town election scenes to dramatize the conflict between personal conviction and community pressure.
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begun to fall out of touch with his neighbors even before that.

The circumstances of my adoption into his household—an orphan without relations or other friends—were not of the sort to serve this narrative. I was taken in to be raised as a farm-hand, and was no more expected to be grateful than as if I had been a young steer purchased to toil in the yoke. No suggestion was ever made that I had incurred any debt of obligation to the Beeches. In a little community where everyone worked as a matter of course till there was no more work to do, and all shared alike the simple food, the tired, heavy sleep, and the infrequent spells of recreation, no one talked or thought of benefits conferred or received. My rights in the house and about the place were neither less nor more than those of Jeff Beech, the farmer's only son.

In the course of time I came, indeed, to be a more sympathetic unit in the household, so to speak, than poor Jeff himself. But that was only because he had been drawn off after strange gods.

At all times—even when nothing else good was said of him—Abner Beech was spoken of by the people of the district as a “great hand for reading.” His pre-eminence in this matter remained unquestioned to the end. No other farmer for miles owned half the number of books which he had on the shelves above his writing-desk. Still less was there anyone roundabout who could for a moment stand up with him in a discussion involving book-learning in general. This at first secured for him the respect of the whole country-side, and men were proud to be agreed with by such a scholar. But when affairs changed, this, oddly enough, became a formidable popular grievance against Abner Beech. They said then that his opinions were worthless because he got them from printed books, instead of from his heart.

What these opinions were may in some measure be guessed from the titles of the farmer's books. Perhaps there were some thirty of them behind the glass doors of the old mahogany bookcase. With one or two agricultural or veterinary exceptions, they related exclusively to American history and politics. There were, I recall, the first two volumes of Bancroft, and Lossing's “Lives of the Signers,” and “Field-Books” of the two wars with England; Thomas H. Benton's “Thirty Years' View;” the four green-black volumes of Hammond's “Political History of the State of New York;” campaign lives of Lewis Cass and Franklin Pierce, and larger biographies of Jefferson and Jackson, and, most imposing of all, a whole long row of big calf-bound volumes of the _Congressional Globe_, which carried the minutiæ of politics at Washington back into the forties.

These books constituted the entire literary side of my boyish education. I have only the faintest and haziest recollections of what happened when I went during the winter months to the school-house at the Four Corners. But I can recall the very form of the type in the farmer's books. Everyone of those quaint, austere, and beardless faces, framed in high collars and stocks and waving hair—the Marcys, Calhouns, DeWitt Clintons, and Silas Wrights of the daguerreotype and Sartain's primitive graver—gives back to me now the lineaments of an old-time friend.

Whenever I could with decency escape from playing checkers with Jeff, and had no harness to grease or other indoor jobs, I spent the winter evenings in poring over some of these books—generally with Abner Beech at the opposite side of the table immersed in another. On some rare occasion one of the hired men would take down a volume and look through it—the farmer watching him covertly the while to see that he did not wet his big thumbs to turn over the leaves—but for the most part we two had the books to ourselves. The others would sit about till bedtime, amusing themselves as best they could, the women-folk knitting or mending, the men cracking butternuts, or dallying with cider and apples and fried-cakes, as they talked over the work and gossip of the district and tempted the scorching impulses of the stovehearth with their stockinged feet.

Harold Frederic opens The Copperhead with a narrator who dates his story from the night his childhood home burned—a fire that marks his thirteenth birthday. The voice is retrospective and exact, recalling the farmhouse, the neighbors, and the man who took him in: Abner Beech. Frederic builds Beech through physical detail: the shaven upper lip, the bushing beard, the hazel eyes under shaggy brows. That shaven lip, the narrator speculates, may be a Puritan survival, but he adds that if Beech had known its origin, he would never have shaved again. The observation is typical of Frederic's method—he embeds character in custom, gesture, and the material world.

A Farmer's Stubbornness in Small Details

Frederic establishes Abner Beech's character not through interior monologue but through a series of concrete choices. Beech was the first farmer to use a mowing-machine and to install lightning-rods. When an itinerant preacher condemned lightning-rods as defiance of God's will, Beech left the church and never forgave the congregation for grinning. The narrator notes that there were other causes for ill-feeling, but he cannot arrange them in proper sequence—a frank admission that memory is partial. What remains is a portrait of a man who acts on principle and holds grudges. Frederic's prose mirrors this stubbornness: he lingers on Beech's appearance, his habits, his farm, and lets the reader infer the inner life from external facts.

Dialogue as Political Theater

The election-day scene at the Corners shows Frederic's ear for regional speech and his ability to stage political conflict in a few lines. When Timothy Joseph Hurley votes, he does so with a fine air of unconcern, sorting mud-stained tickets from his pocket. Outside, the crowd shouts “Copperhead.” Afterward, Abner notices blood on Hurley's mouth and asks what happened. Hurley laughs: “I'd a fine grand bite at the ear of one of them.” Abner rebukes him: “Bitin' men's ears ain't no civilized way of behavin'.” The exchange reveals two kinds of resistance—Hurley's rough physical defiance and Abner's insistence on a code of conduct. Frederic lets the dialogue carry the tension without editorial comment.

The Weight of a Single Vote

Frederic builds suspense around the 1864 election by focusing on the local scale. The narrator learns that the Abolitionists have been beaten in their Congressional district, a result so surprising that Abner can scarcely credit it. The news comes from Tecumseh, where the Mohawk Dutch still vote in numbers. In Agrippa, the two votes from Abner's farm mark the “almost despairing low-water mark of the cause.” Frederic makes the abstract national conflict tangible through the physical reaction of one man: Abner says his knees keep jerking upward, so that he wants to kick and dance. The detail is both comic and poignant—a moment of private triumph in a war that has already cost the community so much.

The Bonfire That Waits for Proof

When Janey Wilcox wants to light a bonfire on the knoll to celebrate the news, Abner insists on waiting for the printed facts. The decision is characteristic: he will not act on rumor, even when the rumor favors him. The narrator's eagerness to go to the post-office—“I could hardly wait to finish breakfast”—contrasts with Abner's caution. Frederic uses the bonfire as a symbol of communal celebration, but he keeps it unlit, suspended between hope and confirmation. The scene captures the novel's larger theme: the cost of holding out against the majority, and the small, stubborn rituals that sustain a dissenter in a time of war.

Frederic's narrator is never named, and his past is sketched only in relation to Abner Beech. Readers should attend to what the narrator chooses to remember and what he admits he cannot recall. The gaps in his memory—the events he cannot arrange in sequence—are as telling as the vivid scenes he describes. The novel rewards attention to its physical details: the mud on a ballot, the blood on a mouth, the unlit bonfire waiting for news.

Years at the reference desk taught me that Abner Beech’s lonely defiance in The Copperhead has a strange echo in the sprightly title of "Ask Mamma"; or, The Richest Commoner In England — Edition Insights. Both are voices pressing against a crowded room, asking what a person owes a world that disagrees. I’ve often wondered if solitude chooses them, or they choose it.

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