A Galahad of the Creeks; The Widow Lamport — Inside the Classic

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Levett Yeats, S. (Sidney), 1858?-1916 Project Gutenberg 2011 Not confirmed
India -- Fiction; Burma -- Fiction Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 58,922
Reading time 257 min
Text sections 8

This digital edition of A Galahad of the Creeks; The Widow Lamport — Inside the Classic is described by source-level measurements including 58,922 words, 4 hr 17 min estimated reading time, and 8 detected text sections.

The text analysis averages about 17.2 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 “India -- Fiction,” connecting these edition facts with the source record’s subject description.

Two novellas set in 1890s Burma and India, blending colonial adventure with romance and intrigue. The excerpts reveal a focus on tense rescues, bureaucratic clashes, and the interplay of duty and personal honor.
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Editorial Edition Score 4.7/5

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  • Title & short description10 pts
  • Source metadata20 pts
  • Text length15 pts
  • Chapters / structure15 pts
  • EPUB file integrity20 pts

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.

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Read the Text

THE COMING OF THE WOON.

The good ship steered toward the East, To the East, o'er the salt sea foam; And years rolled by, and time grew old, But she nevermore came home.

_Voyage of the Tobias_.

When a man has taken a first-class degree, when he has won his blue, and has passed high into the Indian Civil Service without the wet-nursing of a crammer, it might be hazarded that he is worth something. One might go further and picture out his future career--how he would be a prop of Israel; how, step by step, he would rise until the Honourable Council enshrouded him; and how, after a life of useful work, he would, like Oliver, desire more, and drop into being the bore of "the House," or into the warmest corner of the "Oriental," and dream over the fire of the time when he was his Honour the Lieutenant Governor; but the lion is very old now--let him doze.

Peregrine Jackson had taken the first steps to qualify for this part in the tragedy of life, for this forging of the links of that mysterious chain of which we know not the beginning and may never know the end until, as to Longinus, the gates of immortality are opened unto us. But the tall, straight, broad-shouldered young Englishman was thinking of none of these things at present. He had elected to serve in Burma, and he was now posted as assistant commissioner, practically Governor of Pazobin, which is in lower Burma, and lies near the sea on a slimy creek of the Irawadi. He leaned over the gunwale of the river steamer that was bearing him to his destination, and the skipper, the sleeves of his gray-flannel shirt rolled up to his elbows, stood beside him and pointed out Pazobin, which lay about two miles off, clinging like a limpet to the river bank. Now, a Burman river steamer can walk, and at twelve knots an hour two miles would not take long to cover--in fact, the Woon had already whistled shrilly to announce her coming--a whistle that found a hundred echoes in the forest which fringed the banks, until it died away in fitful cadences in some unknown swamp. And let it be remembered that this is the country of the creeks. Here the Irawadi, whose source no man knoweth, comes down from its cradle of snow, past the tremendous defiles of Bhamo, through the whole length of that strange land from which the veil has only just been lifted, past cities and temples, until at last the mystery of waters spread out with a hundred thirsty throats toward the sea, and puddles its blue field with a muddy yellow far out, even to where the breakers hiss around Cape Negrais. Between the wide necks that stretch out to the sea the water has made for itself countless cuttings, through which it ebbs and flows sluggishly beneath the shadows of a primeval forest. The whistle of the steamer was answered by the dull boom of a signal gun, and the broad bosom of the creek was almost immediately dotted over with a vast number of small craft making their way toward the incoming mail boat. "There's the pagoda," and the Mudlark, as captains of Burman river steamers are irreverently called, pointed to the gilded cupola which rose high above the feathers of the bamboos that surrounded it. "There's the jetty," he added, "and there's the courthouse. You'll know more about that presently. Wonder how you'll like sitting there ten hours a day? And, by George, there's the _nga-pe!_" "The what?" But as Jackson spoke, a puff of wind brought a decomposed odour to the steamer. It was overpowering, an all-pervading essence, and for a moment Peregrine forgot everything in a vain effort to beat off the evil with his pocket-handkerchief. "It's all right when you're used to it," mocked the captain, "and you mustn't turn up your nose at it, for that delicate condiment is the main source of revenue of your district. Wait till I take you up some day with a shipload on board! And now, your humble, I must be off."

The two novellas in this volume share a colonial setting but diverge in tone. A Galahad of the Creeks opens with a protagonist who has passed high into the Indian Civil Service, yet the narrative quickly shifts to a violent rescue mission against dacoits, where a Winchester rifle and a burning mission school set the stage. The language is brisk, with dialogue like “Row on, you devils!” driving the action. The Widow Lamport, by contrast, begins with a chapter titled “At the door of the tabernacle,” suggesting a more domestic or social intrigue. The catalog subjects list India and Burma, and the excerpts confirm a focus on British characters in these settings, though the second story’s plot remains largely unseen.

Action Over Administration

Despite the protagonist’s academic pedigree—a first-class degree and a blue—the excerpt from A Galahad of the Creeks devotes little space to bureaucratic life. Instead, it plunges into a nocturnal river pursuit, a sandbank stranding, and a hand-to-hand fight. The policeman Phipson dismisses paperwork with “This is all Tommy rot!” and urges rest before “fighting to do this evening.” The narrative prioritizes physical danger over desk work, using precise details like the “snake head of the leading boat” and the “broad sheet of flame” from burning huts. The hero, Jackson, acts on instinct, his hand lifting “of its own accord” to fire. This suggests the story uses the civil service background as a contrast to the raw action that follows, rather than as a central theme.

Voice and Vernacular

The dialogue carries period flavor without overdoing dialect. Characters exclaim “By God” and “By Jove,” while the serang uses “sahib.” The narration mixes formal description with colloquial outbursts: “What’s the matter?” “The matter is that it’s half-past six, and that damned idiot of a serang has stuck us fast into a sandbank.” The effect is a brisk, masculine tone that keeps the pace urgent. In The Widow Lamport, the chapter titles—“A cup of tea,” “A billet-doux”—hint at a more conversational register, but the excerpts do not provide enough to confirm. The contrast between the two novellas may lie in their handling of speech: one leans toward action commands, the other toward social exchanges.

Setting as Obstacle

The Burmese landscape is not merely backdrop but an active hindrance. The creek offers a “short cut” but also a sandbank that delays the steamer. The mission school burns “like touchwood,” and smoke rolls “westward with the breeze.” Characters navigate by tide and starlight, and the rescue depends on local boats and a serang’s knowledge. The physical environment—creeks, villages, darkness—shapes every move. This is not a passive exotic setting; it resists the characters’ plans. The excerpt from The Widow Lamport does not reveal its setting as clearly, but the title’s reference to “Lamport” and chapter headings like “Dungaree’s Belt” suggest a different, possibly maritime or domestic geography.

Readers should approach these two stories as separate works bound by a single cover. The excerpts from A Galahad of the Creeks show a fast-paced colonial adventure with a focus on rescue and combat, while The Widow Lamport remains largely unknown from the provided text. Pay attention to how each story uses its setting—one as an active obstacle, the other perhaps as a social stage. The contrast between the two may reveal more about the author’s range than either story alone.

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