A Daughter of Raasay: A Tale of the '45 — Inside the Classic
Edition facts
The catalog record for A Daughter of Raasay: A Tale of the '45 — Inside the Classic provides practical reading context through 73,326 words, 5 hr 19 min estimated reading time, and 8 detected text sections.
The text analysis averages about 15.1 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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- 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
CHAPTER I. The Sport of Chance II A Cry in the Night III Deoch Slaint an Righ! IV Of Love and War V The Hue and Cry VI In The Matter of a Kiss VII My Lady Rages VIII Charles Edward Stuart IX Blue Bonnets are Over the Border X Culloden XI The Red Heather Hills XII Volney Pays a Debt XIII The Little God has an Innings XIV The Aftermath XV A Reprieve! XVI Volney's Guest XVII The Valley of the Shadow XVIII The Shadow Falls The Afterword
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THE LADIES OF ST. JAMES'S
The ladies of St. James's Go swinging to the play; Their footmen run before them With a "Stand by! Clear the way!" But Phyllida, my Phyllida! She takes her buckled shoon. When we go out a-courting Beneath the harvest moon.
The ladies of St. James's! They are so fine and fair, You'd think a box of essences Was broken in the air: But Phyllida, my Phyllida! The breath of heath and furze When breezes blow at morning, Is not so fresh as hers.
The ladies of St. James's! They're painted to the eyes; Their white it stays forever, Their red it never dies: But Phyllida, my Phyllida! Her colour comes and goes; It trembles to a lily,-- It wavers like a rose.
The ladies of St. James's! You scarce can understand The half of all their speeches, Their phrases are so grand: But Phyllida, my Phyllida! Her shy and simple words Are clear as after raindrops The music of the birds.
The ladies of St. James's! They have their fits and freaks; They smile on you--for seconds; They frown on you--for weeks: But Phyllida, my Phyllida! Come either storm or shine, From shrovetide unto shrovetide Is always true--and mine.
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When this romance touches history the author believes that it is, in every respect, with one possible exception, in accord with the accepted facts. In detailing the history of "the '45'" and the sufferings of the misguided gentlemen who flung away the scabbard out of loyalty to a worthless cause, care has been taken to make the story agree with history. The writer does not of course indorse the view of Prince Charles' character herein set forth by Kenneth Montagu, but there is abundant evidence to show that the Young Chevalier had in a very large degree those qualities which were lacking to none of the Stuarts: a charming personality and a gallant bearing. If his later life did not fulfil the promise of his youth, the unhappy circumstances which hampered him should be kept in mind as an extenuation.
The thanks of the writer are due for pertinent criticism to Miss Chase, to Mr. Arthur Chapman and to Mr. James Rain, and especially to Mr. Ellery Sedgwick, whose friendly interest and kindly encouragement have been unfailing.
Acknowledgment must also be made of a copious use of Horace Walpole's Letters, the Chevalier Johnstone's History of the Rebellion, and other eighteenth century sources of information concerning the incidents of the times. The author has taken the liberty of using several anecdotes and _bon mots_ mentioned in the "Letters"; but he has in each case put the story in the mouth of its historical originator.
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"Deep play!" I heard Major Wolfe whisper to Lord Balmerino. "Can Montagu's estate stand such a drain?"
"No. He will be dipped to the last pound before midnight. 'Tis Volney's doing. He has angled for Montagu a se'nnight, and now he has hooked him. I have warned the lad, but----"
He shrugged his shoulders.
The Scotchman was right. I was past all caution now, past all restraint. The fever of play had gripped me, and I would listen to nothing but the rattle of that little box which makes the most seductive music ever sung by siren. My Lord Balmerino might stand behind me in silent protest till all was grey, and though he had been twenty times my father's friend he would not move me a jot.
Volney's smoldering eyes looked across the table at me.
"Your cast, Kenn. Shall we say doubles? You'll nick this time for sure."
"Done! Nine's the main," I cried, and threw deuces.
With that throw down crashed fifty ancestral oaks that had weathered the storms of three hundred winters. I had crabbed, not nicked.
"The fickle goddess is not with you to-day, Kenn. The jade jilts us all at times," drawled Volney, as he raked in his winnings carelessly.
"Yet I have noted that there are those whom she forsakes not often, and I have wondered by what charmed talisman they hold her true," flashed out Balmerino.
Raine's narrative voice in A Daughter of Raasay alternates between the measured cadence of historical exposition and the urgent, colloquial tone of a participant. The excerpt from the retreat after Derby, for instance, shifts from a collective 'we' recounting strategic debates—'we know now in what a state of wild excitement the capital city was awaiting news'—to a first-person, sensory account of the skirmish at Clifton: 'I dismounted, tied my horse, and joined the Red Macdonald’s company.' This dual register creates a tension between the overview of events and the immediacy of experience.
Voice and Historical Framing
The foreword signals a careful approach to historical fidelity: the author states that 'when this romance touches history' it is 'in accord with the accepted facts,' with one possible exception. This framing establishes the narrator as a mediator between documented events and fictional embellishment. In the retreat passage, the narrator uses phrases like ''Tis just possible' and 'we know now' to blend hindsight with the uncertainty of the moment. The voice is educated but not stiff, employing contractions ('wasn’t', 'don’t') and occasional Scots-inflected terms such as 'drubbed' and 'claymore.' The effect is that of a memoir rather than a novel, lending credibility to the personal observations.
Pacing: From Council to Combat
The excerpt demonstrates a deliberate shift in pace. The opening paragraphs on the retreat decision are dense with conditional clauses and political reasoning: 'had we pushed on from Derby... we would surely have been cut to pieces.' The sentences are long, the tone analytical. Then, as the narrator joins Donald Roy’s company, the prose quickens. Short, active sentences dominate: 'We lay there a devil of a while,' 'Next moment we were rushing pell-mell.' The description of the charge—'over hedges, and across ditches'—uses parataxis to mimic the breathlessness of action. This contrast between deliberation and sudden violence is a recurring structural device.
Dialogue and Dialect Markers
Though the excerpt contains little direct dialogue, the narrative voice itself carries dialect markers. Words like 'claymore,' 'gorse,' and 'shrubbery' root the setting in the Scottish landscape. The phrase 'a devil of a while' is colloquial, and the use of 'soundly drubbed' echoes period military slang. Raine also inserts Gaelic-inflected names—'Donald Roy,' 'Cluny Macpherson'—without translation, assuming reader familiarity. The effect is to create a linguistic texture that distinguishes the Highland characters from the more standard English of the narrator. This choice reinforces the cultural divide central to the Jacobite conflict.
Readers attentive to narrative craft will note how Raine uses the first-person perspective to bridge historical summary and personal testimony. The shifts in sentence length and diction are not arbitrary; they signal changes in the narrator's emotional distance from the events. Pay particular attention to moments where the 'we' of the army becomes the 'I' of the individual—these are the hinges on which the story turns from reportage to experience.
The rain blurred the windows that afternoon, and I remember losing myself in the cadence of Raine’s Scottish dialect, the historical weight of the ’45 settling into the quiet. That mood—secrets buried in plain sight—stayed with me. Later, almost without thinking, I reached for Hushed Up! A Mystery of London — Key Ideas to Explore, and found the same shadowy hush waiting in a different century.
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