Second String — Story, Setting & Ideas
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Before opening Second String — Story, Setting & Ideas, the edition data offers a quick orientation: 125,855 words, 9 hr 8 min estimated reading time, and 12 detected text sections.
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Jack Rock stood in his shop in High Street. He was not very often to be seen there nowadays; he bred and bought, but he no longer killed, and rarely sold, in person. These latter and lesser functions he left to his deputy, Simpson, for he had gradually developed a bye-trade which took up much of his time, and was no less profitable than his ostensible business. He bought horses, "made" them into hunters, and sold them again. He was a rare judge and a fine rider, and his heart was in this line of work.
However to-day he was in his shop because the Christmas beef was on show. Here were splendid carcasses decked with blue rosettes, red rosettes, or cards of "Honourable Mention;" poor bodies sadly unconscious (as one may suppose all bodies are) of their posthumous glories. Jack Rock, a spruce spare little man with a thin red face and a get-up of the most "horsy" order, stood before them, expatiating to Simpson on their beauties. Simpson, who was as fat as his master was thin, and even redder in the face, chimed in; they were for all the world like a couple of critics hymning the praise of poets who have paid the debt of nature, but are decorated with the insignia of fame. Verily Jack Rock's shop in the days before Christmas might well seem an Abbey or a Pantheon of beasts.
"Beef for me on Christmas Day," said Jack. "None of your turkeys or geese, or such-like truck. Beef!" He pointed to a blue-rosetted carcass. "Look at him; just look at him! I've known him since he was calved. Cuts up well, doesn't he? I'll have a joint off him for my own table, Simpson."
"You couldn't do better, sir," said Simpson, just touching, careful not to bruise, the object of eulogy with his professional knife. A train of thought started suddenly in his brain. "Them vegetarians, sir!" he exclaimed. Was it wonder, or contempt, or such sheer horror as the devotee has for atheism? Or the depths of the first and the depths of the second poured into the depths of the third to make immeasurable profundity?
A loud burst of laughter came from the door of the shop. Nothing startled Jack Rock. He possessed in perfection a certain cheerful seriousness which often marks the amateurs of the horse. These men are accustomed to take chances, to encounter the unforeseen, to endure disappointment, to withstand the temptations of high success. _Mens Aequa!_ Life, though a pleasant thing, is not a laughing matter. So Jack turned slowly and gravely round to see whence the irreverent interruption proceeded. But when he saw the intruder his face lit up, and he darted across the shop with outstretched hand. Simpson followed, hastily rubbing his right hand on the under side of his blue apron.
"Welcome, my lad, welcome home!" cried Jack, as he greeted with a hard squeeze a young man who stood in the doorway. "First-rate you look too. He's filled out, eh, Simpson?" He tapped the young man's chest appreciatively, and surveyed his broad and massive shoulders with almost professional admiration. "Canada's agreed with you, Andy. Have you just got here?"
"No; I got here two hours ago. You were out, so I left my bag and went for a walk round the old place. It seems funny to be in Meriton again."
"Come into the office. We must drink your health. You too, Simpson. Come along."
He led the way to a back room, where, amid more severe furniture and appliances, there stood a cask of beer. From this he filled three pint mugs, and Andy Hayes' health and safe return were duly honoured. Andy winked his eye.
"Them teetotallers!" he ejaculated, with a very fair imitation of Simpson, who acknowledged the effort with an answering wink as he drained his mug and then left the other two to themselves.
"Yes, I've been poking about everywhere--first up to have a look at the old house. Not much changed there--well, except that everything's changed by the dear old governor's not being there any more."
"Ah, it was a black Christmas that year--four years ago now. First, the old gentleman; then poor Nancy, a month later. She caught the fever nursin' him; she would do it, and I couldn't stop her. Did you go to the churchyard, Andy?"
"Yes, I went there." After a moment's grave pause his face brightened again. "And I went to the old school. Nobody there--it's holidays, of course--but how everything came back to me! There was my old seat, between Chinks and the Bird--you know? Wat Money, I mean, and young Tom Dove."
Anthony Hope's Second String opens not in a drawing-room or parliament but in a butcher's shop, where Jack Rock, a "spruce spare little man" with a "horsy" get-up, stands before prize carcasses decorated with rosettes. The scene is unexpectedly literary: the narrator compares Rock and his deputy Simpson to "a couple of critics hymning the praise of poets." This blend of the mundane and the mock-heroic sets the tone for a novel that treats political and romantic entanglements with a similarly wry, observant eye. The early chapters introduce a cast of characters—including the ambitious Billy Foot and the enigmatic "Nun"—whose conversations about politics, love, and loyalty are laced with irony and understatement.
A Butcher's Shop as a Stage
The novel's first chapter establishes Jack Rock's shop as a space where social hierarchies and personal histories intersect. Rock, a horse dealer and butcher, is described with precise physical detail: "a thin red face" and a "get-up of the most 'horsy' order." His deputy Simpson, "as fat as his master was thin," completes the pair. The narrator's mock-heroic comparison of the carcasses to poets in an Abbey or Pantheon introduces a playful, ironic voice that persists throughout the excerpts. This opening is not merely local color; it grounds the story in a specific, tactile world before the narrative moves into the more abstract realms of politics and romance. Readers should note how Rock's practical, unsentimental perspective contrasts with the more idealistic or calculating attitudes of other characters.
The Language of Indirection
Dialogue in the excerpts is marked by evasion and double meaning. When Billy Foot says, "That's the only thing worth coming to grief over, either," referring to a woman, the Nun replies, "What about the great cause I sang for?"—deflecting personal feeling into political rhetoric. Later, Billy describes his political work as having "seven points out of ten" and leaving the other side "to put their three points," a lawyerly quantification of belief. The Nun, half-asleep in a motor-car, responds to Billy's shout of "The House of Commons, stupid!" with a drowsy "Don't tickle my ear." These exchanges reveal character through what is left unsaid: the Nun's motto, "No tales out of school," governs her interactions, while Billy's self-awareness about his own past retreat from commitment surfaces in a single, telling reference to a letter he once wrote.
Internal Conflict and the Threat of Exposure
Chapter XV, "Love and Fear," shifts to Harry Belfield's inner turmoil: "He was terribly at war in his soul." The narrator explains that Harry's feelings cannot be reduced to a simple conflict between two women; his "beliefs and the aspirations with which he had wooed Vivien were not dead." This passage is notable for its direct access to Harry's psychology, contrasting with the more oblique dialogue of earlier chapters. The language of "havens" and "refuges" suggests a struggle between safety and danger, loyalty and desire. The excerpts do not reveal the outcome of this conflict, but they establish that Harry's public composure masks a private crisis. Readers should attend to how the novel balances these interior passages with the social comedy of the earlier scenes.
Politics as Performance and Risk
Political life in the excerpts is presented as a mixture of conviction, calculation, and performance. Billy Foot, a K.C. and M.P., describes his work as doing "my best for my client" while acknowledging that the other side has its points. The Nun, who has sung for a "great cause," is advised by Seymour not to "sing out of doors any more." The motor-car conversation between Billy and the Nun oscillates between flirtation and political discussion, with the Nun's final remark—"And really they're all great fun, you know"—undercutting the seriousness of her earlier observation about "somebody asking for help." This blend of earnestness and irony suggests that the novel treats politics as both a genuine arena of belief and a stage for personal drama. The title Second String may hint at characters who are not the primary players but who nonetheless shape events.
The excerpts from Second String offer a fragmented but revealing portrait of a novel that moves between the concrete and the psychological, the comic and the tense. Readers beginning the book should pay attention to the way Hope uses setting—a butcher's shop, a motor-car at night—to frame conversations that carry more weight than they first appear to. The characters' evasions and half-confessions reward close reading, and the shift to Harry Belfield's interior struggle in Chapter XV signals that the novel's surface of social maneuvering conceals deeper currents of desire and fear.
Years ago, I shelved Hope's Second String beside a quieter volume, and noticed how both treasure the unspoken—Jack Rock's loyal silences, and the editorial whispers gathered in Gabriel Conroy — Edition Insights. They share a hush, a patience for what characters almost say, and I find that kinship still, each time I lift them down.
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