Elsie at Viamede — Text and Context
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The source record for Elsie at Viamede — Text and Context measures this digital text at 67,217 words, 4 hr 53 min estimated reading time, and 7 detected text sections.
The text analysis averages about 21.9 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 “Christian life -- Juvenile 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
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Read the Text
IT was a beautiful evening at Viamede: the sun nearing its setting, shadows sleeping here and there upon the velvety flower-bespangled lawn, and filling the air with their delicious perfume, the waters of the bayou beyond reflecting the roseate hues of the sunset clouds, and the song of some negro oarsmen, in a passing boat, coming to the ear in pleasantly mellowed tones. Tea was over, and the family had all gathered upon the veranda overlooking the bayou. A momentary silence was broken by Rosie's pleasant voice:
"Mamma, I wish you or grandpa, or the captain, would tell the story of Jackson's defence of New Orleans. Now while we are in the neighborhood we would all, I feel sure, find it very interesting. I think you have been going over Lossing's account of it, mamma," she added laughingly, "for I found his 'Pictorial History of the War of 1812' lying on the table in your room, with a mark in at that part."
"Yes, I had been refreshing my memory in that way," returned her mother, smiling pleasantly into the dark eyes gazing so fondly and entreatingly into hers. "And," she added, "I have no objection to granting your request, except that I do not doubt that either your grandfather or the captain could do greater justice to the subject than I," glancing inquiringly from one to the other.
"Captain, I move that you undertake the task," said Mr. Dinsmore. "You are, no doubt, better prepared to do it justice than I, and I would not have my daughter fatigued with the telling of so long a story."
"Always so kindly careful of me, my dear father," remarked Mrs. Travilla in a softly spoken aside.
"I am doubtful of my better preparation for the telling of the story, sir," returned the captain in his pleasant tones, "but if both you and mother are disinclined for the exertion I am willing to undertake the task."
"Yes, do, captain; do, papa," came in eager tones from several young voices, and lifting baby Ned to one knee, Elsie to the other, while the rest of the young members of the household grouped themselves about him, he began his story after a slight pause to collect his thoughts.
"You all, I think, have more or less knowledge of the War of 1812-14, which finished the work of separation from the mother country so nearly accomplished by the War of the Revolution. Upon the close of that earlier contest, England, it is true, acknowledged our independence, but evidently retained a hope of finally recovering her control here.
"All through the intervening years, our sailors on our merchant vessels, and even, in some instances, those belonging to our navy, were subjected to insults and oppression when met on the high seas by the more powerful ones of the English. The conduct of British officers--claiming the right to search our vessels for deserters from theirs, and often seizing American born men as such--was most gallingly insulting; the wrongs thus inflicted upon our poor seamen were enough to rouse the anger and indignation of the meekest of men. The clearest proofs of citizenship availed nothing; they were seized, carried forcibly aboard the British ships, and, if they refused to serve their captors, were brutally flogged again and again.
"But I will not go into details with which you are all more or less acquainted. We did not lack abundant cause for exasperation, and at length, though ill prepared for the struggle, our government declared war against Great Britain.
"That war had lasted two years; both parties were weary of the struggle, and negotiations for peace were being carried on in Europe. In fact the treaty had been signed, December 24, in the city of Ghent, Belgium, but news did not travel in those days nearly so fast as it does now, and so it happened that the battle of New Orleans was fought two weeks afterward, January 8, 1815, both armies being still in ignorance of the conclusion of peace."
"What a pity!" exclaimed Grace.
"And Andrew Jackson was the commanding general?" remarked Walter in a tone between inquiry and assertion. "Was he an American by birth, Brother Levis?"
"Yes; his parents were from Ireland, but he was born on the border between North and South Carolina, in 1767; so that he was old enough to remember some of the occurrences of the Revolutionary War; one of them being himself carried to Camden, South Carolina, as a prisoner, and there nearly starved to death and brutally treated by a British officer; cut with a sword because he refused to black his boots for him."
Martha Finley's Elsie at Viamede opens with a carefully composed scene on a veranda overlooking a bayou, where the family gathers after tea. The narrative immediately establishes a pattern of movement between tranquil domestic settings and the bustle of travel preparations. The evening is described with specific sensory details: the sun nearing its setting, shadows on the lawn, and the song of negro oarsmen in a passing boat. This opening tableau sets the stage for a story that repeatedly returns to such moments of collective repose before shifting to discussions of journeys and shopping expeditions.
Veranda Conversations and Historical Recitations
The veranda serves as a recurring stage for family storytelling. In the opening chapter, Rosie requests the story of Jackson's defence of New Orleans, and the narrative pauses to consider who might best tell it. This moment reveals how the characters use historical accounts to connect with their Louisiana surroundings. The mention of Lossing's 'Pictorial History of the War of 1812' as a source grounds the fiction in actual reference works. The scene also highlights the family's easy interplay: Mrs. Leland smiles into 'the dark eyes gazing so fondly and entreatingly into hers,' and Mr. Dinsmore defers to the captain. These veranda exchanges are not mere filler; they establish the group's dynamics and their habit of turning to history for entertainment and instruction.
Travel as a Structural Engine
The narrative moves from the veranda to plans for a journey to Viamede itself. Characters discuss shopping for wedding gifts and new dresses, with Zoe and Elsie debating who the bride might be. The text shifts between domestic scenes and carriage rides, as when Elsie invites the Lelands to join her to 'talk over matters and settle plans as we drive.' This alternation between stationary gatherings and movement—by carriage, by boat—creates a rhythm that propels the story forward. The babies wait on the veranda for their parents' return, and the family assembles in the evening to finalize arrangements. The journey to Viamede becomes a goal that organizes the characters' actions and conversations, giving the early chapters a clear forward momentum.
Recurring Imagery of Light and Water
Finley repeatedly uses light and water to set the mood. The opening paragraph describes 'the waters of the bayou beyond reflecting the roseate hues of the sunset clouds.' Later, the veranda overlooks the bayou, and the song of oarsmen drifts in. These details create a consistent sensory backdrop. Even in scenes of shopping and planning, the narrative returns to the veranda and the view of the water. The imagery is not merely decorative; it reinforces the Louisiana setting and the leisurely pace of family life. The sunset and the bayou appear as anchors, reminding readers of the physical place even when the characters are indoors or in transit.
Family Gatherings as Narrative Nodes
The story is structured around a series of family assemblies. The opening veranda scene is followed by a breakfast discussion, then a carriage ride, and finally an evening gathering at Ion. These nodes allow Finley to introduce multiple characters and their perspectives. At the evening assembly, Ella Conley arrives 'in high glee' about visiting Viamede, and Zoe exhibits her purchases. The conversations are filled with plans and speculations, but the narrative never loses sight of the group as a collective. The repeated phrase 'all gathered upon the veranda' or 'the guests came early' signals that these gatherings are the story's organizing principle. They provide a framework for the domestic drama, which unfolds through dialogue and shared decision-making rather than solitary reflection.
Readers approaching Elsie at Viamede will find that the story's structure rewards attention to its recurring patterns: the veranda scenes, the travel preparations, and the family councils. The narrative moves between stillness and motion, using the Louisiana bayou as a constant visual anchor. By observing how Finley builds each chapter around a gathering or a departure, one can appreciate the deliberate pacing that shapes this domestic fiction.
Reading Elsie at Viamede reminded me of those slower evenings on the veranda, where the bayou's quiet does most of the talking. That same unhurried pull toward adventure at the edge of comfort surfaced when I found The Boy Ranchers on Roaring River; Or, Diamond X and the Chinese Smugglers — A Reader’s Guide—both trace a circle back home, even when the river runs elsewhere.
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