Robin Tremayne A Story of the Marian Persecution — Edition Insights
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The catalog record for Robin Tremayne A Story of the Marian Persecution — Edition Insights provides practical reading context through 118,826 words, 8 hr 37 min estimated reading time, and 11 detected text sections.
The text analysis averages about 16.2 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
- 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
Crowe was a smaller house than Bradmond, less pleasantly situated, and with more confined grounds. The door was opened by a girl who, to judge from her dress and appearance, was a maid-of-all-work, and with whom tidiness was apparently not a cardinal virtue.
"Good morrow, Deb [Note 4]; how fareth the child?"
"Good lack, Mistress!" was all that could be extracted from Deb.
"Get thee down to the kitchen for a slattern as thou art, and wash thee and busk [dress] thee ere thou open the door to any again!" said a rather shrill, yet not unpleasant, voice behind Deb; and that damsel disappeared with prompt celerity. "The maid is enough to provoke all the saints in the calendar. Isoult, sweet heart, be a thousand times welcomed!" And the speaker, advancing, kissed her guest with as much affection as though they had been sisters.
"And how goeth it with the child, Mrs Philippa?"
A quick shake of the head seemed to give an unfavourable answer.
"Demand that of Dr Thorpe, when he hath seen her; but our apothecary feareth much."
Very unlike either of the women already described was Philippa Basset. There was nothing passive about her; every thing was of the most active type, and the mood in which she chiefly lived was the imperative. While really under the common height of women, in some mysterious way she appeared much taller than she was. Her motions were quick even to abruptness: her speech sincere even to bluntness. Every body who knew her loved her dearly, yet every body would have liked to alter her character a little. Generally speaking, she seemed to take no part in those softer feminine feelings supposed to be common to the sex; yet there were times when that firm voice could falter, and those bright, quick, grey-blue eyes grow dim with tears. Whatever she did, she did thoroughly and heartily: she loved fervently and hated fervently. That "capacity for indignation" which it has been said lies at the root of all human virtues, was very fully developed in Philippa. Her age was thirty-one, but she looked nearer forty. Perhaps Isoult Avery, who had gone with her through the storm of suffering which fell on the House of Lisle, could have guessed how that look of age had come into the once bright and lively face of Philippa Basset.
"Come in, dear heart," continued Philippa, "and speak with my Lady my mother; and I will carry up Dr Thorpe to see the child."
So John and Isoult went into the parlour, and Philippa conducted Dr Thorpe to the sick chamber.
In the little parlour of the little house at Crowe sat a solitary lady. She was not yet fifty years of age, but her hair was only one remove from white; and though lines of thought and suffering were marked on her pale face, it yet bore the remains of what had been delicate loveliness. Her complexion was still exquisitely fair, and her eyes were a light, bright blue. Though she moved quickly, it was with much dignity and grace. She was a small, slightly-made woman; she sat as upright as a statue; and she inclined her head like a queen. It was no marvel, for she had been all but a queen. For twelve years of her life, her velvet robes had swept over palace pavements, and her diamonds had glittered in the light of royal saloons; and for seven of those years she had herself occupied the highest place. An invitation from her had been an envied honour; a few minutes' conversation with her, a supreme distinction. For this was Honor Plantagenet, Viscountess Lisle, sometime Lady Governess of Calais. But that was all over now. She was "a widow indeed, and desolate." The House of Lisle had fallen seven years before; and Honour's high estate, as well as her private happiness, fell with it. And with her, as with so many others, it ended in the old fashion--
"`Where be thy frendes?' sayd Robin. `Syr, never one wyll me know; Whyle I was ryche enow at home Grete boste then wolde they blowe; And now they renne awaye fro me, As bestes on a rowe; They take no more heed of me, Than they me never sawe.'"
Of the scores of distinguished persons who had enjoyed the princely hospitality of Lady Lisle at Calais, not one ever condescended to glance into the little house at Crowe. She had friends left, but they were not distinguished persons. And foremost among these was Isoult Avery, who for two years had been bower-woman to the Viscountess, in those old days when she sat in the purple as Governess of Calais.
Many minutes had not elapsed before Philippa and Dr Thorpe entered the parlour together.
Emily Sarah Holt's Robin Tremayne opens with a domestic scene that belies the turmoil to come: a mother spinning, a daughter at the window, and a pie at risk of overbaking. The measured, even tone of the narrator—who describes Custance Tremayne as 'born a Quakeress' in temperament—establishes a calm baseline against which the later acceleration of political and religious crisis becomes starkly felt. Holt's narrative voice shifts markedly as the story progresses, moving from placid household rhythms to the clipped, urgent exchanges of men gathering at the Lamb inn, where news of deprivation and imprisonment arrives with dizzying frequency.
A Voice That Shifts with the Storm
The early chapters of Robin Tremayne are narrated in a deliberate, almost unhurried style. Sentences are long, descriptions of domestic life are detailed, and dialogue is formal and courteous. The opening line—'Arbel, look forth and see if thy father and Robin be at hand'—exemplifies this measured pace. As the narrative moves into the period of persecution, however, Holt's prose tightens. In Chapter Eight, Dr Thorpe's outburst—'I am aweary of the news. There is news every day'—signals a shift: the syntax becomes more fragmented, the rhythm more staccato. The narrator no longer lingers over spinning wheels and casement windows but instead reports a rapid succession of imprisonments and releases. This change in voice mirrors the escalating danger, moving from the calm of the Tremayne household to the anxious, crowded conversations at the Lamb.
Pacing as a Tool of Tension
Holt manipulates pacing to create a sense of encroaching threat. In the early chapters, time passes slowly: a pie must be watched, a garment sewn, a father awaited. The narrative lingers on small gestures and quiet exchanges. By contrast, the later excerpts show time compressing. News arrives 'every day,' and characters react with weary familiarity to reversals of fortune—'My Lord A. to the Tower, and my Lord B. delivered thence.' The repetition of 'and my Lord C. to the Marshalsea; and my Lord D. to the Fleet' creates a breathless, cumulative effect. The reader is drawn into the same disorientation felt by the characters, who can no longer keep pace with events. This acceleration is not merely stylistic; it reflects the historical reality of the Marian regime's swift and unpredictable violence.
Historical Detail Embedded in Dialogue
Holt does not rely on authorial exposition alone to convey the period. Instead, she embeds historical context within natural conversation. When Mr Holland announces that 'Father Rose is deprived,' the group's collective shock is rendered through a single line of dialogue: 'Deprived! cried all the voices together.' The narrator then explains the significance—that the blow came earlier than expected—but the emotional weight is carried by the characters' reactions. Similarly, Dr Thorpe's metaphor of backgammon—'a game of tables, with players that have no skill, and care for nought saving to rattle the dice'—conveys the capriciousness of political fortune without breaking the narrative frame. These details are woven into speech, not footnoted, keeping the reader immersed in the story while still providing historical texture.
Readers should attend to the way Holt uses the Tremayne household as a narrative anchor: its quiet domesticity makes the later upheaval more jarring. The contrast between Custance's unflappable calm and the frantic news cycles of the Lamb inn is central to the novel's emotional architecture. Pay particular attention to how Holt varies sentence length and dialogue density across chapters—these shifts are not accidental but deliberate signals of the story's changing stakes.
There’s something about how Holt lets the quiet moments between the persecutions breathe, that patient attention to ordinary days. It reminded me of the unhurried texture in Skinner’s Dress Suit — Story, Setting & Ideas—not the plot, but the way small domestic choices echo against larger unease. I finished both feeling oddly steadied, like I’d watched someone simply endure, and that was enough.
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