Buffalo Bill's Still Hunt; Or, The Robber of the Range — Inside the Classic
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Buffalo Bill's Still Hunt; Or, The Robber of the Range — Inside the Classic can be approached with a clearer sense of reading commitment from its source measurements: 66,060 words, 4 hr 48 min estimated reading time, and 30 detected text sections.
The text analysis averages about 19.7 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 “Western stories,” connecting these edition facts with the source record’s subject description.
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- Title & short description10 pts
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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
CROSSING THE RIO GRANDE.
The Rio Grande, the great dividing-line between Mexico and the United States, was swelling rapidly into a flood under recent rains, which had sent torrents dashing from the mountain lands toward the Gulf.
A carriage, drawn by two horses, had halted upon the banks at the ford, the Mexican driver on the box seeming afraid to venture into the turbid stream.
Within the vehicle were two persons, one in the garb of a nun of the Church of Rome, the other a young and beautiful girl of sixteen, with dark hair and glorious eyes that revealed her Spanish blood.
“Well, Pedro, why do you halt here?” asked the nun of the driver.
“It is dangerous to cross, Sister Felicite,” was the answer.
“And the river is rising?”
“You know the ford, Pedro?”
“How deep will the waters come?”
“They will wash through the carriage, Sister Felicite.”
“Then what is to be done, Pedro?”
“Alas! I know not,” was the dejected reply.
“If you return, the road is dangerous, night is coming on, and there is no ranch within fifteen miles.”
“What shall we do, then?” the nun asked anxiously.
“Place greater weights in the carriage, sister; open the doors, to let the water run through and not wash it away; let me mount the box with Pedro, to use the whip, while he manages the horses, and we can get across.”
The speaker was the young girl, and the nun looked at her with an expression of amazed horror.
“Why, child, what do you mean?”
“Oh, Sister Felicite, I do not mind a ducking or danger, for I have crossed many a stream beyond its banks.”
“The señorita is right, Sister Felicite, for it is our only chance,” Pedro said.
“And the river is constantly rising, so that there is no time to delay,” Nina de Sutro remarked, in a determined manner, her face full of spirit and courage.
“What do you think, Pedro?” asked the nun.
“It is all that we can do, sister.”
“Then act upon the Señorita Nina’s suggestion at once.”
The driver sprang from his box, and at once began to pack the vehicle with stones to weight it down.
The baggage was taken from the boot and placed on top, and Sister Felicite mounted there, also, seated upon the cushions.
Nina climbed to the seat next to the driver’s upon the box; then the man mounted to his place, seized his reins, and, with a searching glance across the river, to where the trail left the waters on the other shore, he urged the horses into the now turbulent and deep stream.
It was a perilous undertaking, but the nun was silent and calm, the young girl fearless-faced and determined, the driver, Pedro, seeming anxious and nervous, understanding the danger more thoroughly, perhaps with a premonition of what lay in their path.
The carriage at times was swept along for a few feet; the horses time and again lost their footing but the brave driver knew the ford well, and Nina de Sutro understood just when to use the whip, for she carefully watched every movement of Pedro and the horses.
As they neared the other shore one of the horses suddenly sank out of sight into a hole, and the pull dragged the driver over upon the top of his now struggling team.
The vehicle swept around suddenly, the driver was beaten down by the plunging, struggling horses, and was swept away upon the surging current.
But Nina de Sutro had seized the reins, and, to her great delight, the vehicle was swept upon a bar, where its downward course was arrested, and the horses regained their footing once more.
“Alas! we, too, must go to join him soon,” said Sister Felicite, with calm resignation.
“Yes, sister, the waters are flowing more rapidly, and we will soon be swept away,” was the response of the young girl, who was still cool and full of nerve, though her face had blanched at thus being confronted by what appeared to be sure death.
“Keep up your courage, for I will come to your aid!”
The voice came from the bank, where a horseman had suddenly dashed down the hill and come to a halt.
“I will see if my lasso will reach you. Catch it, señorita, as I throw!” cried the horseman, and he launched the coil into the air, when it was caught by Nina, while the nun on the top of the carriage muttered a fervent:
“Holy Mother, I thank thee!”
A cheer broke from the lips of the horseman, who was splendidly mounted and equipped, and dressed in the garb of a Mexican gentleman ranchero.
The excerpt from Buffalo Bill's Still Hunt drops the reader into a charged standoff in Yellow Dust Valley. Buffalo Bill, seated at a table, has a miner named Pistols under his revolver while a hostile crowd of sixty backs the accuser. The scout's calm is described as 'beautifully serene' by an onlooker, a phrase that captures the deliberate coolness Ingraham assigns to his hero. The scene hinges on a precarious balance: Bill faces death from the crowd, but Pistols is equally close to being shot, creating a mutual hostage situation that the author sustains through clipped dialogue and layered threats.
The Standoff as a Set Piece
The confrontation in the excerpt is built on a series of escalating risks. Buffalo Bill does not simply face one enemy; he is surrounded by 'the very worst element in the mines,' who are described as having 'nothing to lose.' Ingraham emphasizes the numerical odds—sixty to two after the Surgeon Scout arrives—and the crowd's willingness to sacrifice Pistols to get at Bill. The author uses the miner's phrase 'beautifully serene' to underscore Bill's composure, a detail that contrasts with the mob's restlessness. The scene's tension derives not from physical action but from the threat of a single shot triggering a massacre, a structure Ingraham repeats in other dime novels.
Voice and Defiance in Dialogue
Buffalo Bill's speech in the excerpt is marked by a sardonic edge. He tells Pistols, 'if I am facing death, you are just as close as I am to it, so begin business when you please, and you’ll find that I’ll never hang, and dying, will take company along, so as not to get too lonesome on the trail across the Dark River.' The phrasing mixes frontier fatalism with a theatrical threat—'Dark River' as a euphemism for death. Ingraham gives Bill a voice that is both defiant and darkly humorous, a pattern consistent with the dime-novel tradition of the hero who talks as boldly as he acts. The Surgeon Scout's entrance is equally commanding: 'What does this mean, holding a government officer under your guns?' The dialogue drives the scene forward without physical violence.
The Surgeon Scout as a Counterweight
The arrival of Frank Powell, the Surgeon Scout, shifts the power dynamic. Ingraham describes him as 'hurling men right and left by his giant strength as though they were children,' a physical intervention that breaks the stalemate. The crowd's reaction is split: 'a perfect yell of joy burst from many' while the 'ugly element' remains hostile. The Surgeon Scout represents institutional authority—he is in uniform and a government officer—yet the mob's hatred of the army suggests that law enforcement is precarious. The excerpt ends with the crowd still divided, the threat unresolved, indicating that Ingraham uses the Surgeon Scout not as a simple deus ex machina but as a figure who intensifies the conflict between order and lawlessness.
Readers approaching the full novel will find that this standoff is only one of many such confrontations. Ingraham's style favors tense, dialogue-driven scenes where the hero's wit and nerve are tested against numerical odds. Pay attention to how the author balances Buffalo Bill's bravado with the Surgeon Scout's more formal authority, and note the recurring motif of the crowd as a volatile character in its own right.
There’s a particular loneliness in that standoff — one man holding a line against a crowd’s certainty. I felt it again reading about the Maine woods, where isolation breeds its own kind of justice. Strange how the same quiet stubbornness shows up in both places, like a thread through old stories. The Demon Trapper of Umbagog: A Thrilling Tale of the Maine Forests — Background and Themes lingers on that feeling. I don’t know why that stays with me, but it does.
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