The Courtship of Morrice Buckler: A Romance — A Closer Reading
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The source record for The Courtship of Morrice Buckler: A Romance — A Closer Reading measures this digital text at 100,215 words, 7 hr 16 min estimated reading time, and 11 detected text sections.
The text analysis averages about 16.8 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 “Historical fiction,” connecting these edition facts with the source record’s subject description.
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- Title & short description10 pts
- Source metadata20 pts
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TELLS OF AN INTERRUPTED MESSAGE.
I REACH LONDON, AND THERE MAKE AN ACQUAINTANCE.
TELLS HOW I REACH BRISTOL, AND IN WHAT STRANGE GUISE I GO TO MEET MY FRIEND.
I JOURNEY TO THE TYROL, AND HAVE SOME DISCOURSE WITH COUNT LUKSTEIN.
SWORDS TAKE UP THE DISCOURSE.
I RETURN HOME AND HEAR NEWS OF COUNTESS LUKSTEIN.
I MAKE A BOW TO COUNTESS LUKSTEIN.
I RENEW AN ACQUAINTANCESHIP.
DOUBTS, PERPLEXITIES, AND A COMPROMISE.
THE COUNTESS EXPLAINS, AND SHOWS ME A PICTURE.
COUNTESS LUKSTEIN IS CONVINCED.
A GAME OF HIDE-AND-SEEK.
THE HALF-WAY HOUSE AGAIN.
CONCERNING AN INVITATION AND A LOCKED DOOR.
IN THE PAVILION. I EXPLAIN.
IN THE PAVILION. COUNTESS LUKSTEIN EXPLAINS.
A TALK WITH OTTO. I ESCAPE TO INNSPRUCK.
THE COURTSHIP OF MORRICE BUCKLER
TELLS OF AN INTERRUPTED MESSAGE.
It chanced that as I was shifting the volumes in my library this morning, more from sheer fatigue of idleness than with any set intention--for, alas! this long time since I have lost the savour of books--a little Elzevir copy of Horace fell from the back of a shelf between my hands. It lay in my palm, soiled and faded with the dust of twenty years; and as I swept clean its cover and the edges of the leaves, the look and feel of it unlocked my mind to such an inrush of glistening memories that I seemed to be sweeping those years and the overlay of their experience from off my consciousness. I lived again in that brief but eventful period which laid upon the unaccustomed shoulders of a bookish student a heavy burden of deeds, but gave him in compensation wherewith to reckon the burden light.
The book fell open of its own accord at the Palinodia at Tyndaridem. On the stained and fingered leaf facing the ode I could still decipher the plan of Lukstein Castle, and as I gazed, that blurred outline filled until it became a picture. I looked into the book as into a magician's crystal. The great angle of the building, the level row of windows, the red roofs of the turrets, the terrace, and the little pinewood pavilion, all were clearly limned before my eyes, and were overswept by changing waves of colour. I saw the Castle as on the first occasion of my coming, hung disconsolately on a hillside in a far-away corner of the Tyrol, a black stain upon a sloping wilderness of snow; I saw it again under a waning moon in the stern silence of a frosty night, as each window grew angry with a tossing glare of links; but chiefly I saw it as when I rode thither on my last memorable visit, sleeping peacefully above the cornfields in the droning sabbath of a summer afternoon. I turned my eyes to the ode. The score of my pencil was visible against the last verse:
Nunc ego mitibus Mutare quaero tristia dum mihi Fias recantatis amica Opprobriis animumque reddas.
On the margin beside the first line was the date, Sept. 14, 1685, and beneath the verse yet another date, Sept. 12, 1687. And as I looked, it came upon me that I would set down with what clearness I might the record of those two years, in the hope that my memories might warm and cheer these later days of loneliness, much as the afterglow lingers purple on yonder summit rocks when the sun has already sunk behind the Cumberland fells. For indeed that short interspace of time shines out in my remembrance like a thick thread of gold in a woof of homespun. I would not, however, be understood to therefore deprecate the quiet years of happiness which followed. The two years of which I speak in their actual passage occasioned me more anxiety and suffering than happiness. But they have a history of their own. They mark out a portion of my life whereof the two dates in my Horace were the beginning and the end, and the verse between the dates, strangely enough, its best epitome.
It was, then, the fourteenth day of September, 1685, and the time a few minutes past noon. Jack Larke, my fellow-student at the University of Leyden, and myself had but just returned to our lodging in that street of the town which they call the Pape-Graft. We were both fairly wearied, for the weather was drowsy and hot, and one had little stomach for the Magnificus Professor, the more particularly when he discoursed concerning the natural philosophy of Pliny.
"'Tis all lies, every jot of it!" cried Larke. "If I wrote such nonsense I should be whipped for a heretic. And yet I must sit there and listen and take notes until my brain reels."
"You sit there but seldom, Jack," said I, "and never played yourself so false as to listen; while as for the notes----!"
The novel opens with a striking image: the narrator, Morrice Buckler, shifts books in his library and a dusty Elzevir Horace falls open at the Palinodia. The leaf bears a plan of Lukstein Castle, and as he gazes, the blurred outline becomes a vivid picture—'the great angle of the building, the level row of windows, the red roofs of the turrets, the terrace, and the little pinewood pavilion.' This moment of involuntary memory frames the entire narrative as a recollection of a 'brief but eventful period' that transformed a bookish student into a man of action. Mason immediately establishes a tension between the quiet life of letters and the violent, romantic world that awaits.
A Miniature and a Suspicious Hostess
In a key scene, Morrice examines a tray of curios while Ilga, his hostess, watches him with peculiar intensity. She draws his attention to a miniature of a dark-haired girl, painted on ivory, that 'shone like a gem' among older trinkets. When Morrice admits a vague familiarity, Ilga presses him with ironic repetition—'Look again! Look again, Mr. Buckler!'—and her eyes darken with excitement. The exchange is charged with unspoken knowledge: Ilga seems to know something about Morrice's past that he himself cannot recall. Her servant Otto Krax stands stolidly by, a silent witness. The miniature becomes a catalyst for suspicion, and Ilga's tone shifts from tender appeal to scornful irony, leaving Morrice 'completely at a loss.'
The Weight of Unspoken Stories
Mason builds the narrative around what is not said. Ilga hints at knowing Morrice's story—'there was a certain accent of appeal in her voice, very tender and sweet, as though she knew my story and was ready to forgive it'—yet she never states it directly. Morrice himself is haunted by a past he cannot fully grasp, and the reader is left to infer from fragments. The novel's subtitle promises 'a record of the growth of an English gentleman under strange and difficult circumstances,' and the excerpts show a protagonist caught between his own ignorance and others' hidden knowledge. The tension is heightened by the setting: a room where Otto Krax blocks the light, a tray of antiques that hint at 'bygone times' but 'tell so provokingly little.'
Voice and Structure: The Framed Recollection
The first chapter establishes a retrospective frame: Morrice writes 'some while afterwards in his own hand,' and the narrative is edited by A. E. W. Mason. This layered authorship—Morrice as narrator, Mason as editor—creates a sense of distance and reflection. The opening paragraph, with its 'glistening memories' and the physical book that unlocks them, emphasizes the act of remembering. The prose is measured, even melancholic: 'this long time since I have lost the savour of books.' Yet the story that follows is one of action, swords, and escape. Mason uses the contrast between the contemplative narrator and the adventurous younger self to generate a quiet tension. The chapter titles—'Tells of an Interrupted Message,' 'I Reach London, and There Make an Acquaintance'—promise a picaresque journey, but the voice remains that of a man looking back.
Readers should attend to the miniature as a recurring motif and to the way Mason withholds information, letting objects and glances carry meaning. The Tyrolean setting—Lukstein Castle, the pavilion, the terrace—is drawn with precision, and the plan of the castle mentioned in the opening may reward attention. The novel is less a straightforward romance than a study of how the past resurfaces through chance objects and half-forgotten faces.
Years between the stacks, I’ve watched The Courtship of Morrice Buckler teach a quiet lesson—how a soul shaped by shelved volumes finds itself tangled in another’s secret history. That same tender isolation lives in A Little Wizard — Themes and Context, where a boy’s inner world whispers against the louder rooms around him. Both simply breathe the truth: we are never quite alone in our hidden loyalties.
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