Shrewsbury: A Romance — A Closer Reading
Edition facts
Shrewsbury: A Romance — A Closer Reading can be approached with a clearer sense of reading commitment from its source measurements: 130,131 words, 9 hr 26 min estimated reading time, and 15 detected text sections.
The text analysis averages about 19.1 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 “Historical fiction,” connecting these edition facts with the source record’s subject description.
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How this score is calculated
- Description quality20 pts
- 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.
Read the Text
She looked directly at me.
In an instant I was on the other side of the fence.
Stole down the stairs and into the garden.
My companion seized my wrist.
The constable led me out of the crowd.
"When my back is turned go through that window."
He wore a dingy morning-gown and had laid aside his wig.
"Damn your King William, and you too!" he cried.
He pressed the ring of cold steel.
In the great chair sat an elderly lady leaning on an ebony stick.
I heard a light foot following me.
With a gesture between contempt and impatience the duke removed his hat.
I flung my arms round him from behind, and with my right hand jerked up the pistol.
A slight gentleman ambled and paced in front of a child.
"Now we will have that letter, if you please."
I saw a man had come to a stand before the door.
The place was nothing more than a concealed cupboard.
And turning from me, he began to pace the room, his hands clasped behind him.
She came a step nearer to me, and peered at me.
Sir John ... stared at me a moment.
She listened in silence, standing over me with something of the severity of a judge.
He shut himself in with his trouble.
I stood there at last ... the faces at the table all turned towards me.
She was making marks on the turf with a stick.
That the untimely death at the age of fifty-eight of that great prince, Charles, Duke of Shrewsbury, my most noble and generous patron, has afflicted me with a sorrow which I may truly call _acerbus et ingens_, is nothing to the world; which from one in my situation could expect no other, and, on the briefest relation of the benefits I had at his hands, might look for more. Were this all, therefore, or my task confined to such a relation, I should supererogate indeed in making this appearance. But I am informed that my lord Duke's death has revived in certain quarters those rumours to his prejudice which were so industriously put about at the time of his first retirement; and which, refuted as they were at the moment by the express declaration of his Sovereign, and at leisure by his own behaviour, as well as by the support which at two great crises he gave to the Protestant succession, formed always a proof of the malice, as now of the persistence, of his enemies.
Still, such as they are, and though, not these circumstances only, but a thousand others have time after time exposed them, I am instructed that they are again afloat; and find favour in circles where to think ill of public men is held the first test of experience. And this being the case, and my affection for my lord such as is natural, I perceive a clear duty. I do not indeed suppose that anyone can at this time of day effect that which the sense of all good men failed to effect while he lived--I mean the final killing of those rumours; nor is a plain tale likely to persuade those, with whom idle reports, constantly furbished up, of letters seen in France, weigh more than a consistent life. But my lord's case is now, as I take it, removed to the Appeal Court of Posterity; which nevertheless, a lie constantly iterated may mislead. To provide somewhat to correct this, and wherefrom future historians may draw, I who knew him well, and was in his confidence and in a manner in his employment at the time of Sir John Fenwick's case--of which these calumnies were always compact--propose to set down my evidence here; shrinking from no fulness, at times even venturing on prolixity, and always remembering a saying of Lord Somers', that often the most material part of testimony is that on which the witness values himself least. To adventure on this fulness, which in the case of many, and perhaps the bulk of writers, might issue in the surfeit of their readers, I feel myself emboldened by the possession of a brief and concise manner of writing; which, acquired in the first place in the circumstances presently to appear, was later improved by constant practice in the composition of my lord's papers.
The novel opens with a first-person narrator who mourns the death of Charles, Duke of Shrewsbury, in a tone laced with Latin—acerbus et ingens—immediately establishing a formal, elegiac voice. This narrator, a beneficiary of the duke's patronage, frames the story as a retrospective account, though the excerpts shift to third-person scenes involving the duke and King William III. The king, described with a hacking cough and pallor, presents himself as a weary ruler trapped by circumstance, while Shrewsbury repeatedly seeks release from his political burdens. Their dialogue reveals a tense intimacy: William trusts Shrewsbury as the one man who has never betrayed him, yet the duke's gloom suggests a heavy cost.
The King's Frailty and the Duke's Reluctance
King William III appears not as a commanding monarch but as a frail, phlegmatic figure who “took a pinch of snuff” while describing his own unhappiness. He contrasts his lofty title with the reality of being “a King and no King,” thwarted by betrayers and lack of resources. The duke, in turn, confesses his own unfitness, lamenting that he lacks the qualities for his role. This mutual acknowledgment of weakness—William’s cough and pallor, Shrewsbury’s sighs—creates a paradoxical bond: the king cannot release the one man he trusts, even as that man longs to escape. The dialogue is laced with weary resignation, as when William says, “to be high, or what the world calls high, is to be unhappy.”
A Plot Unfolds: Berwick and Ferguson’s Dilemma
The political intrigue emerges through a report that the Duke of Berwick is in London. King William’s reaction—a mere nod and the remark “Is he in this pretty plot, then?”—suggests a weary familiarity with conspiracies. The informant Ferguson is described as having “sold him—as he has sold every one all his life,” indicating a pattern of betrayal. The king shrewdly reconstructs Ferguson’s double game: ruining Shrewsbury with William if he concealed the news, or damning him with King James if he informed. The duke, having chosen to inform, is left gloomy, and the king’s solution—to write a line bidding Berwick begone—reveals a pragmatic, almost indulgent approach to treason. The scene underscores the precariousness of loyalty in a court where every hand may be against the throne.
Narrative Voice and Structural Choices
The excerpts present a curious hybrid: a first-person frame (the narrator mourning Shrewsbury) and third-person scenes of dialogue. The opening’s Latin phrase and the dedication “TO MY BROTHER HENRY” signal a personal, almost memoir-like intent, yet the bulk of the text is dramatic. The list of illustrations—such as “With a gesture between contempt and impatience the duke removed his hat”—hints at key visual moments, while the chapter titles (I through XLVI) suggest a sprawling, episodic structure. The narrator’s role remains unclear: is he a participant or a chronicler? The excerpts do not reveal his identity or his connection to the duke beyond gratitude. This ambiguity invites readers to watch for how the personal and political threads intertwine.
Readers should attend to the interplay between the narrator’s retrospective sorrow and the immediate, tense dialogues. The king’s pragmatic cynicism and the duke’s reluctant duty set a tone of moral complexity. The excerpts offer no resolution to the Berwick plot or the duke’s inner conflict, leaving much to the full novel’s development. Weyman’s use of historical figures—William III, Berwick, Ferguson—grounds the romance in documented tensions, but the personal cost of loyalty remains the central puzzle.
There’s a particular ache in watching Shrewsbury carry duty like a stone he never asked for, and it reminded me of another quiet burden—the one in World's End: A Story in Three Books — A Reader’s Guide, where the world’s ending isn’t loud, just slow. Both books linger on that space between what we owe and what we’d rather be. I still think about that.
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