A Drake by George! — Context and Discussion

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Trevena, John, 1870-1948 Project Gutenberg 2012 Not confirmed
Humorous stories; Devon (England) -- Fiction Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 83,278
Reading time 363 min
Text sections 8

This digital edition of A Drake by George! — Context and Discussion is described by source-level measurements including 83,278 words, 6 hr 3 min estimated reading time, and 8 detected text sections.

The text analysis averages about 15.8 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 “Humorous stories,” connecting these edition facts with the source record’s subject description.

John Trevena's comic novel follows the schemes of George Drake, a manipulative sailor, as he orchestrates inheritances and outwits rivals in Devon. The narrative relies on exaggerated nautical diction, farcical dialogue, and a keen eye for domestic absurdity.
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Editorial Edition Score 4.7/5

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I. SOMETHING ABOUT THE FAMILY II. EXHIBITION DAY AT WINDWARD HOUSE III. THE CAPTAIN MAKES HISTORY IV. CHANGES IN THE ESTABLISHMENT V. GEORGE TACKLES THE LABOUR PROBLEM VI. HONOURABLE INTENTIONS VII. SCANDAL AND EXPOSURE VIII. A TANGLED INHERITANCE IX. A SUBTLE SINNER'S SUCCESS X. THE FIRST PERSON SINGULAR PARAMOUNT XI. SOME LEADING INCIDENTS XII. A SPLENDID BARGAIN XIII. WASPS AND OTHER WORRIES XIV. THE GRABBERS XV. A NEW HOUSE AND THE SAME OLD FURNITURE XVI. GEORGE TAKES CONTROL XVII. PLOUGHING THE GROUND XVIII. SOWING THE SEED XIX. REAPING THE HARVEST XX. THE GLEANERS

SOMETHING ABOUT THE FAMILY

Rumour, introducing the newcomer as a celebrity, began to fly about immediately Captain Drake appeared upon the scene and distinguished himself not only by blocking the single narrow street of Highfield with a presence weighing two hundred and fifty pounds, but by addressing passing men, women, and children in a voice which sounded from the church at the top of the hill to the post office at the bottom; top, middle, and bottom being comparative terms when applied to the great hills of Highfield. Rumour provoked excitement when it suggested legal influences were at work about a couple of old semi-detached cottages belonging to an absentee landlord. The man who found it necessary, on account of his bulk and stentorian voice, to acquire two cottages would have plenty of money; and wealth was much the shortest cut to fame that Highfield knew of. Rumour passed into a condition almost hysterical when builders arrived, demolished the two old cottages, erected a gabled villa of suburban type, and set up against the street a massive noticeboard, which looked as if it had been designed for some important railway station; but instead of yielding such information as "Mazeworthy Junction. Change for the Asylum," it bore the inscription, "Windward House. Captain Francis Drake, Master."

Finally, three vanloads of furniture were dragged up the hill, and the family arrived to take possession of the parish; for it became at once evident that Captain Drake regarded himself as "old man" of the place, the vicar as his sky pilot, and the male inhabitants as crushers, jollies, flatfeet, and shellbacks, all of whom were amenable to his discipline.

In any case the Captain was respected by everybody, whether they had the privilege of knowing him or not--he was one of those men who had to be known thoroughly and at once--when those vanloads of furniture drew up alongside Windward House. Such fumed oak had never been seen before in Highfield. There were vases from China, ivory images from India, living trees of the forest in flower-pots from Japan, with curiosities from all corners of the earth. There was also a large cage full of cats, another cage of monkeys, yet another of parrots, and a giant tortoise, its carapace completely covered with newspaper cuttings relating to the numerous voyages of the old sailor who, in hours of leisure, had committed to the Press columns of adventures wherein fiction was once more proved to be far more interesting and instructive than truth. Birds and beasts are not usually classed as furniture, but they were announced as such in "the inventory of my possessions" duly posted upon the noticeboard by the worthy Captain whose capacity for self-advertisement was much too great for a little country parish.

The first visitor to step aboard Windward House was the Dismal Gibcat, and he came as usual with a scowl and a grievance. The Dismal Gibcat occupied a house about a mile from the village in the company of a wife who was more dismal than himself; he called himself a gentleman in reduced circumstances, and could spell the word embarrassed with ease; he ruled the parish with his scowl, and spent all the money he could get in enjoying lawsuits with his neighbours. This gentleman inquired for Mister Drake with a fearful emphasis, and received the information that the Admiral was shaving. But a door at the top of the stairs stood open, and a moment later the master himself appeared in a state of fury, half clothed and shouting tremendously, "Captain, you rascal! Captain Francis Drake, late of the Mercantile Marine, descendant of the immortal Admiral, author of 'Tortoises: and how to treat them,' 'Comments on Cats,' part owner of the sailing ship _Topper_, now unfortunately lying at the bottom of the Persian Gulf. Captain Francis Drake, always at the service of the Admiralty, but never at the beck and call of geese and asses."

"Willie, dear, you knew your name never was really Francis," called the troubled voice of Mrs. Drake from somewhere in the parlour.

"Stand off the bridge, Maria. Don't argue with your superior officer," roared the Captain.

From the moment Captain Francis Drake arrives in Highfield, John Trevena establishes a voice that is both bombastic and precise. The Captain, weighing two hundred and fifty pounds, blocks the single narrow street and addresses passersby in a voice that carries from church to post office. This opening tableau—complete with a villa named Windward House and a noticeboard resembling a railway station's—signals a world where scale and self-importance are played for laughs. Trevena's prose matches the Captain's bluster, using nautical slang like 'crushers' and 'shellbacks' to colour the dialogue, while the narrative eye lingers on absurd details: a giant tortoise covered in newspaper cuttings, or fumed oak furniture that astonishes the locals.

Nautical Diction as a Comic Device

Trevena peppers the novel with seafaring language that extends beyond the Captain himself. Characters are addressed as 'jollies' and 'flatfeet,' and domestic disputes are framed as battles. In one excerpt, George Drake accuses his rival Percy of being a 'common malefactor' and a 'homicidal maniac,' while describing another as a scoundrel who would 'give twopence with one hand and steal your last sovereign with the other.' This hyperbolic register, drawn from the Captain's naval background, infuses even mundane arguments with a theatrical quality. The effect is not merely decorative: it reinforces the theme of self-dramatisation, as each character tries to cast themselves as the hero of their own story.

The Art of the Bluff: Dialogue and Deception

Much of the comedy arises from characters who talk themselves into corners. George's scheme to forge a will and pressure his aunt into signing it is laid out in a rapid-fire exchange with Nellie, who alternately laughs and protests. His reasoning—'The only way to get justice is to help yourself'—is delivered with a straight face, while he simultaneously accuses others of knavery. Trevena's dialogue captures the rhythm of a practised manipulator: George shifts from indignation to tenderness within a single speech, calling Nellie 'my dear' while plotting fraud. The result is a portrait of a man who believes his own fictions, and whose verbal agility is both his weapon and his flaw.

Setting as Character: Highfield and Windward House

The village of Highfield is sketched with a few telling strokes: a single street, a church at the top, a post office at the bottom, and hills that make 'top, middle, and bottom' relative terms. Into this steep, insular world comes Windward House, a gabled villa of suburban type that is anything but nautical. The contrast between the Captain's grandiose self-image and the mundane reality of his new home is a running joke. Trevena uses the setting to ground the farce: the arrival of three vanloads of furniture, the Chinese vases, the cage of monkeys—all are presented as invasions of a quiet parish. The physical details (the noticeboard, the tortoise) are not mere decoration; they anchor the absurdity in a recognisable English village.

Inheritance and the Comedy of Greed

The excerpts revolve around a dispute over furniture and money, with George, Nellie, Percy, and Aunt Sophy circling one another. Trevena treats inheritance not as a serious legal matter but as a game of wits, complete with forged wills, hidden cheques, and accusations of 'bribery and corruption.' George's plan to buy a sixpenny printed form and have his aunt sign it in front of servants is both outrageous and meticulously detailed. The humour lies in the gap between the high stakes (a fortune) and the low means (a stationer's form). Trevena never lets the reader forget that these are petty squabbles dressed up in grand language, and the characters' self-importance only makes their greed more ridiculous.

Readers should attend to the way Trevena uses voice to distinguish his characters: George's bluster, Nellie's laughter, Percy's sanctimony. The novel rewards attention to its verbal texture—the slang, the insults, the mock-heroic posturing. Because the excerpts offer only fragments of the plot, the pleasure lies in observing how each character tries to control the narrative, and how the author undercuts them with a well-placed detail. Approach this as a comedy of language as much as of situation.

There’s something about George Drake’s clumsy scheming that lingers, like the smell of damp wool after a Devon rain. It made me think of another book I keep nearby, one that also watches its people fumble toward their own small hopes. Mathieu Ropars: et cetera — A Reader’s Guide has that same patient, wry warmth, as if sitting quiet while the world sorts itself out. I suppose I just like stories that don’t rush.

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