The Wizard's Son, Vol. 2 (of 3) — Text and Context
Edition facts
For The Wizard's Son, Vol. 2 (of 3) — Text and Context, the stored edition analysis reports 78,808 words, 5 hr 43 min estimated reading time, and 6 detected text sections.
The text analysis averages about 19.6 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 “Supernatural -- Fiction,” connecting these edition facts with the source record’s subject description.
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- Title & short description10 pts
- Source metadata20 pts
- Text length15 pts
- Chapters / structure15 pts
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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.
Read the Text
When Walter seated himself beside Oona in the boat, and Hamish pushed off from the beach, there fell upon both these young people a sensation of quiet and relief for which one of them at least found it very difficult to account. It had turned out a very still afternoon. The heavy rains were over, the clouds broken up and dispersing, with a sort of sullen stillness, like a defeated army making off in dull haste, yet not without a stand here and there, behind the mountains. The loch was dark and still, all hushed after the sweeping blasts of rain, but black with the reflections of gloom from the sky. There was a sense of safety, of sudden quiet, of escape, in that sensation of pushing off, away from all passion and agitation upon this still sea of calm. Why Oona, who feared no one, who had no painful thoughts or associations to flee from, should have felt this she could not tell. The sense of interest in, and anxiety for, the young man by her side was altogether different. That was sympathetic and definable; but the sensation of relief was something more. She looked at him with a smile and sigh of ease as she gathered the strings of the rudder into her hands.
"I feel," she said, "as if I were running away, and had got safe out of reach; though there is nobody pursuing me that I know of," she added, with a faint laugh of satisfaction.
The wind blew the end of the white wrapper round her throat towards her companion, and he caught it as she had caught the rudder ropes.
"It is I that am pursued," he said, "and have escaped. I have a feeling that I am safe here. The kind water, and the daylight, and you--but how should _you_ feel it? It must have gone from my mind to yours."
"The water does not look so very kind," said Oona, "except that it separates us from the annoyances that are on land--when there are annoyances."
She had never known any that were more than the troubles of a child before.
"There is this that makes it kind. If you were driven beyond bearing, a plunge down there and all would be over----"
"Oh, I don't mean to try. I have no thought of trying; but look how peaceful, how deep, all liquid blackness! It might go down to the mystic centre of the earth for anything one knows."
He leant over a little, looking down into those depths profound which were so still that the boat seemed to cut through a surface which had solidity; and in doing this put the boat out of trim, and elicited a growl from Hamish.
It seemed to Oona, too, as if there was something seductive in that profound liquid depth, concealing all that sought refuge there. She put out her hand and grasped his arm in the thrill of this thought.
"Oh, don't look down," she said. "I have heard of people being caught, in spite of themselves, by some charm in it." The movement was quite involuntary and simple; but, on second thoughts, Oona drew away her hand, and blushed a little. "Besides, you put the boat out of trim," she said.
"If I should ever be in deadly danger," said Walter, with the seriousness which had been in his face all along, "will you put out your hand like that, without reflection, and save me?"
Oona tried to laugh again; but it was not easy; his seriousness gained upon her, in spite of herself.
"I think we are talking nonsense, and feeling nonsense; for it seems to me as if we had escaped from something. Now Hamish is pleased; the boat is trimmed. Don't you think," she said, with an effort to turn off graver subjects, "that it is a pity those scientific people who can do everything should not tunnel down through that centre of the earth you were speaking of, straight through to the other side of the world? Then we might be dropped through to Australia without any trouble. I have a brother there; indeed I have a brother in most places. Mamma and I might go and see Rob now and then, or he might come home for a dance, poor fellow; he was always very fond of dancing."
This volume opens with a striking scene of relief and escape: Walter and Oona push off from the beach in a boat, and both feel a sudden quiet. Oona describes it as running away, though no one pursues her; Walter claims he is the one pursued and has escaped. The loch is described as dark, still, and black with reflections, and Walter muses on its seductive depth, suggesting a plunge would end all. This moment establishes a pattern of psychological tension beneath calm surfaces.
The Language of Inner Turmoil
The excerpts repeatedly use metaphors of storm and calm to describe Walter's state. He is said to have escaped from 'angry waves and convulsions' into a 'halcyon period.' The narrative describes his former disturbances as 'the angry sea of his own being' and his current peace as standing on a 'calm eminence' looking back at 'angry waters.' This consistent imagery ties the natural setting—the loch, the boat, the weather—directly to Walter's psychological condition, rather than to external action.
Oona, too, is linked to this language. She feels 'a sensation of quiet and relief' and a 'sense of safety, of sudden quiet, of escape' when pushing off from land. The text explicitly notes that this feeling is 'something more' than sympathy for Walter. The water is personified as 'kind' yet also 'all liquid blackness' that might lead to the 'mystic centre of the earth.' This duality—safety and danger, calm and threat—pervades the narrative voice.
Social Compromise and the Erradeen Property
Walter's internal calm is explicitly linked to his social rise and his interest in Katie Williamson. The text states that since he 'floated into this new form of influence' and knew the girl 'whom it would be so excellent for the Erradeen property that he should marry,' a halcyon period began. He feels 'tranquil' and 'good,' with no inclination to be angry. The narrative frames his potential marriage as a 'compromise' with fate, a way to lull 'all the elements of evil' that had previously risen against him.
Mr. Williamson, Katie's father, is described as 'in a state of rapture,' chuckling over the prospect. The text notes there is 'no courtship indeed between them, such as was usual in his own more animated class and age.' This suggests a transactional quality to the relationship, where Walter's motives are tied to property and peace rather than passion. The supernatural inheritance—the 'power that had somehow got him in its clutches'—is not directly depicted in these excerpts, but its influence is felt through Walter's desire for a compromise.
Oona's Peripheral Presence
Though Oona appears only in the opening excerpt, her role is significant. She is the one who steers the boat, holding the rudder strings, while Walter catches the end of her white wrapper. Their dialogue reveals a shared sense of escape, but Oona's perspective is distinct: she has 'no painful thoughts or associations to flee from,' yet still feels relief. Later, Walter wonders if Oona ever thinks of him, dismissing their connection as 'that little episode' and a 'dream.'
This asymmetry—Oona's unexplained relief, Walter's wistful dismissal—suggests a relationship that is not fully resolved. The text does not reveal Oona's feelings or future role, but her presence in the opening scene establishes a contrast to Walter's later social ease. She remains on the beach, looking after his boat, while he contemplates a marriage that would secure his peace. The excerpts leave her as a figure of quiet, unresolved significance.
Readers should attend to the way Mrs. Oliphant uses the loch and boat as recurring symbols of both refuge and danger. The narrative's psychological depth—its focus on Walter's internal states and the language of storm and calm—is more prominent than supernatural events in this volume. The excerpts provide no resolution to the inheritance plot, but they establish a pattern of compromise and unease that may shape the story's trajectory.
That rainy afternoon, Walter’s quiet compromises stayed with me long after I closed The Wizard’s Son—how easily we trade one ghost for another. Later, browsing an old shelf, I found myself reaching for Sixpenny Pieces — Inside the Classic, its small, unassuming stories somehow answering that same ache with gentler light.
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