The Croxley Master: A Great Tale Of The Prize Ring — Inside the Classic
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The Croxley Master: A Great Tale Of The Prize Ring — Inside the Classic can be approached with a clearer sense of reading commitment from its source measurements: 19,146 words, 1 hr 24 min estimated reading time, and 2 detected text sections.
The text analysis averages about 14.8 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 “Boxers (Sports) -- Fiction,” connecting these edition facts with the source record’s subject description.
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Read the Text
Montgomery looked up, for the voice was a loud and rasping one. A young man stood at the entrance--a stocky, bull-necked young miner, in tweed Sunday clothes and an aggressive necktie. He was a sinister-looking figure, with dark, insolent eyes, and the jaw and throat of a bulldog.
"Look y'ere!" said he again. "Why hast thou not sent t' medicine oop as thy master ordered?"
Montgomery had become accustomed to the brutal frankness of the Northern worker. At first it had enraged him, but after a time he had grown callous to it, and accepted it as it was meant. But this was something different. It was insolence--brutal, overbearing insolence, with physical menace behind it.
"What name?" he asked coldly.
"Barton. Happen I may give thee cause to mind that name, yoong man. Mak' oop t' wife's medicine this very moment, look ye, or it will be the worse for thee."
Montgomery smiled. A pleasant sense of relief thrilled softly through him. What blessed safety-valve was this through which his jangled nerves might find some outlet. The provocation was so gross, the insult so unprovoked, that he could have none of those qualms which take the edge off a man's mettle. He finished sealing the bottle upon which he was occupied, and he addressed it and placed it carefully in the rack.
"Look here!" said he turning round to the miner, "your medicine will be made up in its turn and sent down to you. I don't allow folk in the surgery. Wait outside in the waiting-room, if you wish to wait at all."
"Yoong man," said the miner, "thou's got to mak' t' wife's medicine here, and now, and quick, while I wait and watch thee, or else happen thou might need some medicine thysel' before all is over."
"I shouldn't advise you to fasten a quarrel upon me." Montgomery was speaking in the hard, staccato voice of a man who is holding himself in with difficulty. "You'll save trouble if you'll go quietly. If you don't you'll be hurt. Ah, you would? Take it, then!"
The blows were almost simultaneous--a savage swing which whistled past Montgomery's ear, and a straight drive which took the workman on the chin. Luck was with the assistant. That single whizzing uppercut, and the way in which it was delivered, warned him that he had a formidable man to deal with. But if he had underrated his antagonist, his antagonist had also underrated him, and had laid himself open to a fatal blow.
The miner's head had come with a crash against the corner of the surgery shelves, and he had dropped heavily onto the ground. There he lay with his bandy legs drawn up and his hands thrown abroad, the blood trickling over the surgery tiles.
"Had enough?" asked the assistant, breathing fiercely through his nose.
But no answer came. The man was insensible. And then the danger of his position came upon Montgomery, and he turned as white as his antagonist. A Sunday, the immaculate Dr. Oldacre with his pious connection, a savage brawl with a patient; he would irretrievably lose his situation if the facts came out. It was not much of a situation, but he could not get another without a reference, and Oldacre might refuse him one. Without money for his classes, and without a situation--what was to become of him? It was absolute ruin.
But perhaps he could escape exposure after all. He seized his insensible adversary, dragged him out into the centre of the room, loosened his collar, and squeezed the surgery sponge over his face. He sat up at last with a gasp and a scowl.
"Domn thee, thou's spoilt my necktie," said he, mopping up the water from his breast.
"I'm sorry I hit you so hard," said Montgomery, apologetically.
"Thou hit me hard! I could stan' such fly-flappin' all day. 'Twas this here press that cracked my pate for me, and thou art a looky man to be able to boast as thou hast outed me. And now I'd be obliged to thee if thou wilt give me t' wife's medicine."
Montgomery gladly made it up and handed it to the miner.
"You are weak still," said he. "Won't you stay awhile and rest?"
"T' wife wants her medicine," said the man, and lurched out at the door.
The story opens not in a ring but at a surgery desk, where Robert Montgomery sits with his head in his hands, the grimy window framing a vista of 'Cyclopean pillars' of chimneys. His despair is financial: he needs sixty pounds to complete his medical degree. When he asks his employer, Dr. Oldacre, for a loan, the doctor's 'vaguely benevolent' manner gives way to a tight mouth and averted eyes. The request is refused. This early scene establishes a world where respectability is a brittle performance and money governs fate—a world that will soon propel Montgomery into the prize ring.
Two Bodies, Two Worlds
The fight pits Montgomery, described as 'symmetrical as a Greek statue,' against the Croxley Master, a 'squat, formidable figure' with a 'monstrous' chest and a leg distorted from years of battle. The Master's skin is 'dusky and mottled,' his breast thatched with tangled black hair, his teeth 'beaten out of him in twenty years of battle.' Montgomery, by contrast, is 'trained to a hair,' his skin 'gleaming like silk,' every muscle rippling. The narrator compares them to a bulldog and a high-bred terrier. This is not merely a physical contrast but a social one: the educated, symmetrical amateur versus the hardened professional, each shaped by a different code of living.
The Language of Class and Grit
Dialect marks the divide. The Master speaks in a thick Yorkshire vernacular—'Happen I might draw my hand across thy face'—while Montgomery uses standard English. The woman in the window, who scoffs at Montgomery as a 'thread-paper yoong gentleman,' speaks in the same rough tongue. The referee from London, Mr. Stapleton, arrives with a 'fur-collared overcoat' and a 'very shiny top-hat,' his speech clipped and authoritative. Even the betting reflects class: Ted Barton, the second, puts his 'twa pund' on Montgomery, while the fat butcher wheezes approval of both lads. The ring becomes a stage where accents, attire, and attitudes collide.
The Weight of the Industrial Backdrop
The opening description of the district—'blighted and blasted by the greed of man'—is not mere scene-setting. It frames the entire narrative. Montgomery's despair is born of a world where chimneys 'spouted smoke' six days a week and Sunday alone brings a 'lowering, dun-coloured cloud-bank.' The prize ring, for all its brutality, offers an escape from that grinding poverty. The Master, too, is a product of this environment: his body bears the scars of a lifetime of fighting for survival. The fight itself is a microcosm of the larger struggle against a system that grinds men down, whether in the surgery or the ring.
Readers should attend to the way Doyle uses physical description to encode social standing and moral worth. The symmetry of Montgomery's body is not just athletic but symbolic of a classical ideal, while the Master's battered form tells a story of endurance. The industrial setting is not a backdrop but an active force, shaping the characters' choices and fates. This is a story about the price of ambition and the different currencies—money, respect, physical prowess—that men trade in.
Reading about Doyle's medical student stepping into the prize ring, I felt that ache between polish and ruin, the body as both instrument and scarred record. It put me in mind of a quiet, dog-eared collection I once leafed through, Mind Amongst the Spindles. A Miscellany, Wholly Composed by the Factory Girls — Reading Notes, where young women wrote their own verses between shifts. Same grit, same unlikely poetry, just a different kind of ring.
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