After the Manner of Men — Text and Context
Edition facts
The catalog record for After the Manner of Men — Text and Context provides practical reading context through 97,294 words, 7 hr 4 min estimated reading time, and 37 detected text sections.
The text analysis averages about 17.4 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 “Man-woman relationships -- Fiction,” connecting these edition facts with the source record’s subject description.
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- 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
ddle age, whose coat suggested the church or the schoolroom; a vivacious lady in black, with strongly marked eyebrows and eloquent hands and shoulders; a young woman who wore an artist’s smock over her walking-gown; and another who was girlish enough to wear a red tarn, and to be the prettier for it. But by preference Tregarvon made his stammering apologies to the blue embroidery hat.
“Ah--er--please don’t mind me,” he begged, acutely conscious that his abrupt and pistol-bearing entrance was handicapping him prodigiously. “I thought--that is--er--you see, I really couldn’t know that it was merely a peaceful target practice, and I----”
“Of all things!” gasped the young woman, her slate-blue eyes emphasizing her shocked amazement. “Did you really think that some one was shooting at _you_? But, of course, you must have! How perfectly dreadful!”
Tregarvon was trying ineffectually to hide the ornamental revolver in his coat pocket when the others closed in.
“You are sure you are not hurt?” the mild-eyed escort made haste to inquire, and Tregarvon grinned sheepishly.
“Only in my self-esteem,” he confessed. “I was silly enough to think that somebody was trying to mark me down, though I might have known better after the first shot or two.”
“But how could you know when you were behind the tree and couldn’t see us?” protested the one who had been doing the shooting. “I’m sure it speaks libraries for your self-control that you didn’t retaliate in kind! Don’t you think so, Madame Fortier?” and she appealed to the lady with the Gallic eyebrows and the eloquent shoulders.
“_Ciel!_ but the _sangfroid_--what you call the cold blood--of these American zhentlemen is of a grandeur the moz’ magnificent!” exclaimed madame. “Mees Richardia she is shoot a hondred time at zis zhentleman, and he is say he is injure’ onlee in hees _amour-propre_!”
It was at this point that the humor of the situation overtook the chief offender, and she laughed, the sweetest and most delectable laugh that ever gladdened the ears of a young man keenly sensitive to the charms of heavenly slate-blue eyes, a piquant face, and a voice remindful of wood-thrushes and song-sparrows and golden-throated warblers.
“After this, there is nothing left for us but to declare ourselves,” she submitted ruefully, turning to the spectacled escort. “It is the least we can do to save the gentleman the trouble of describing us if he wishes to have us taken before Squire Prigmore.”
But now Tregarvon was regaining some measure of equanimity.
“Let me be the one to begin the identifying process,” he amended. “My name is Vance Tregarvon, and I have the misfortune to be the present owner of the valueless piece of property known as the Ocoee Mine. You are more than welcome to make a rifle-range of my landscape any time you wish. I am quite certain it is the only useful purpose it has ever subserved.”
The gentleman whose coat was either clerical or schoolmasterish, bowed gravely and took his turn, prefacing it with a question.
“Have you ever heard of Highmount College for Young Women, Mr. Tregarvon?”
Tregarvon, in deference to piquancies and slate-blue eyes and the like, was tempted to quibble and say that, of course, every one knew of Highmount College. But the heavenly eyes were holding him, and they promised intolerance of anything but the pellucid truth. So he shook his head regretfully.
“Such is fame--the fame of an old, a great, and a noble institution of learning!” said the spectacled one, in mock deprecation. “With a foundation laid over half a century in the past, with the most healthful and charming location on the entire Cumberland Mountain for its site; with a corps of instructors second only to those of the richly endowed colleges of the North--correct me, Miss Richardia, if I am not quoting the prospectus accurately--with all these splendid advantages, and with a student body drawn from the oldest and most distinguished families of the South.... Mr. Tregarvon, can it be possible----”
“Spare me!” laughed the victim. “You must remember that I am only a poor, ignorant provincial from Philadelphia, less than a fortnight out of the shell.”
“We are merely trying to impress you properly so that you will think twice before having us arrested for trespass and attempted assassination,” broke in the laughing markswoman. “We may not look it, but we are a majority of the faculty of Highmount College for Young Women. Let me present you to Madame Fortier, Modern Languages; to Miss Longstreet, Art; to Miss Farron, Assistant Mathematics; and to Professor William Wilberforce Hartridge, M.A., Vanderbilt, Higher Mathematics and the Natural Sciences.”
The novel opens with a bullet whipping through foliage near Duncan Tregarvon, a city-bred man who instinctively takes cover like a seasoned frontiersman. This moment establishes a pattern of abrupt violence and the constant presence of the mountain wilderness. Lynde contrasts Tregarvon's urban background with the raw Cumberland setting, where a stray shot can shatter the afternoon quiet. The Ocoee property—inherited and possibly worthless—becomes the story's central puzzle, with characters debating its coal deposits through test-holes and old offers. The narrative moves between tense business parlays and the physical landscape, where every negotiation carries the weight of the stubborn rock beneath.
Gunfire as a Structural Motif
The opening shot is not an isolated incident. Lynde uses gunfire to punctuate key transitions: a bullet introduces Tregarvon to the mountains, and later illustrations hint at more shooting. The frontispiece caption—“Did you really think that some one was shooting at you?”—suggests that the threat may be ambiguous, perhaps misinterpreted by the protagonist. This recurring image ties the physical danger of the setting to the characters' psychological uncertainty. The mountains are not merely a backdrop but an active force that intrudes on civilized expectations.
The Ocoee as a Vicious Circle
Tregarvon's dilemma is neatly encapsulated in a conversation with the bookkeeper Thaxter: to sell the Ocoee, he must find a buyer; to find a buyer, he must prove coal exists; to prove coal exists, he must drill test-holes—which costs money he may not recover. Lynde renders this economic trap through dialogue that circles back on itself, mirroring the property's own geological stubbornness. The offer of one hundred thousand dollars from Consolidated Coal, once made to Tregarvon's father, becomes a tantalizing clue that may or may not indicate real value. The reader, like Tregarvon, must weigh conflicting evidence without full knowledge.
Movement Between City and Mountain
Lynde structures the narrative as a series of journeys between the settled lowlands and the wild Cumberland. The chapter titles—The Townlander, The Sow's Ear, Beyond the Gap—signal physical and social crossings. Tregarvon's status as an outsider is reinforced by his urban speech and manners, which clash with the mountain folk. The tramway and the old coke ovens at Coalville serve as tangible links between these worlds, but the gap remains. Lynde uses these movements to explore how place shapes character: the mountains demand a different kind of knowledge than the city provides.
Recurring Images of Rock and Resistance
The stubborn rock of the title's eighth chapter is more than a geological obstacle. Lynde repeatedly invokes images of hard, unyielding material: the stubborn rock that resists drilling, the dull steel of tools, the burnt child who learns caution. These metaphors extend to human relationships—Tregarvon's persistence against advice, the mountain people's resistance to change. The landscape itself becomes a character with agency, its mineral wealth hidden or withheld. Even the name Ocoee carries a native resonance that hints at older, deeper layers beneath the surface.
Readers should attend to the way Lynde weaves business details into the fabric of the story: the test-holes, the tramway rights, the old offer from Consolidated Coal. These are not mere background but the engine of the plot. The mountain setting is rendered with specificity—the Cumberland forests, the gaps, the creeks—and rewards attention to how place constrains action. The novel's title, After the Manner of Men, invites reflection on what that manner entails in a world where bullets fly and coal may or may not lie beneath the rock.
Years ago I shelved Francis Lynde’s tale of stubborn rock and patient bargaining in Tennessee, and I recall how the Ocoee’s value seemed to hinge on trust as much as coal. That same quiet reckoning—what a promise is worth when the ground itself resists—echoes through The Princess Sonia’s gentler corridors. Some stories simply share a buried seam. The Princess Sonia — Key Ideas to Explore rests beside it now, a faithful neighbor on my shelf.
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