With Ethan Allen at Ticonderoga — Reading Notes

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Foster, W. Bert (Walter Bertram), 1869-1929, Carter, F. A. (Freeland A.), 1856-1948 [Illustrator] Project Gutenberg 2010 Not confirmed
Historical fiction; Allen, Ethan, 1738-1789 -- Juvenile fiction; Fort Ticonderoga (N.Y.) -- Capture, 1777 -- Juvenile fiction Readers of public-domain and historical texts
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Edition facts

Words 72,467
Reading time 316 min
Text sections 7

The source record for With Ethan Allen at Ticonderoga — Reading Notes measures this digital text at 72,467 words, 5 hr 16 min estimated reading time, and 7 detected text sections.

The text analysis averages about 18.4 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 “Historical fiction,” connecting these edition facts with the source record’s subject description.

This editorial note examines the structural movement between wilderness scenes and settlement conflicts in W. Bert Foster's historical novel, focusing on how recurring images of trails, water, and sound shape the narrative of Enoch Harding's coming-of-age amid the Green Mountain Boys' disputes.
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Editorial Edition Score 4.7/5

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  • Title & short description10 pts
  • Source metadata20 pts
  • Text length15 pts
  • Chapters / structure15 pts
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Never had the boy been in such danger. He did not utterly lose his presence of mind; but he was helpless. What chance had he with an empty gun before the savage brute? He seized the barrel in both hands and raised the weapon above his head. It was too heavy for him to swing with any ease, and being so would fall but lightly on the creature, did he succeed in reaching it at all. He could not hope to stun the cat at a single blow. And beside, the tree, rocking now like a water-logged canoe, made his footing more and more insecure. In a moment it would be among the boulders and at the first collision be overturned.

But he could not drag his eyes from those of the catamount. With a fierce snarl which ended in a thrilling scream, the brute cast itself into the air! At the moment it rose, exposing its lighter colored breast to view, a gun-shot shattered the silence of river and forest. The spring of the cat was not stayed, but its yell again changed--this time to a note of agony.

"Jump, lad, jump!" shouted a voice and Enoch, as though awaking from a dream, obeyed the command. He leaped sideways, and landed upon a slippery rock, falling to his knees, yet securing a hand-hold upon a protuberance. Nor did he lose hold of his gun with the other hand.

The body of the catamount landed just where he had stood; but then rolled off the log and disappeared in the rushing stream, while the timber itself crashed instantly into one of the larger boulders. Enoch staggered to his feet, his hand bleeding and also his knee, where the stocking had been torn away by the rock. The log swung broadside to the current again, and seeing his chance, the boy ran along its length and leaped from its end into comparatively shallow water under the bank.

His rescuer was at hand and dragged him, panting and exhausted, to the shore, where he fell weakly on the turf, unable for a moment to utter a word. The man who leaned over him was lean, as dark as an Indian, and in a day when smoothly shaven features were the rule, his face was marked by a tangled growth of iron-gray beard. His hair hung to the fringed collar of his deerskin shirt, and straggled over his low brow in careless locks, instead of being tightly drawn back and fastened in a queue; and out of this wilderness of hair and beard looked two eyes as sharp as the hawk's.

He was so tall that there was a slight stoop to his shoulders as though, when he walked, he feared to collide with the branches of the trees under which he passed. Erect, he must have lacked but a few inches of seven feet and, possessing not an ounce of superfluous flesh on his big bones, his appearance was not impressive. The deerskin hunting shirt, worked in a curious pattern on the breast with red and blue porcupine quills, fitted him tightly, as did his linsey-woolsey breeches; and his thin shanks were covered with gray hose darned clumsily in more than one place. He would have been selected at first sight as a wood-ranger and hunter, and carried his long rifle with more grace than he ever held plough or wielded reaping-hook.

Indeed, Josiah Bolderwood was one of that strange class of white men so frequently found during the pioneer era of our Eastern country. He seemed to have been born, as he often said himself, with a gun in his hands. His mother, lying on her couch behind the double wall of a blockhouse in the Maine wilderness, loaded spare guns for her husband and his comrades while they beat off the yelling redskins, when Josiah was but a few days old. He was a ranger and trapper from the beginning. He had slept under the canopy of the forest more often than in a bed and beneath a roof made by men's hands. From early youth he had hunted all through the northern wilderness, and had been no more able to tie himself to a farm, and earn his bread by tilling the soil, than an Indian. Indeed, he was more of an Indian than a white man in habits, tastes, and feelings; he lacked only that marvelous appreciation of signs and sounds in the forest, in which the white can never hope to equal the red man.

The novel opens with a long, patient description of a forest at dawn: a doe and fawn at a salt lick, an ancient Indian trail worn knee-deep, and a boy named Enoch Harding approaching with a heavy rifle. This initial scene establishes a pattern of movement between stillness and action, wild and settled spaces, that recurs throughout the excerpts. The trail itself—a path made by animals, then by Native Americans, now by white settlers—becomes a structural motif, linking the natural world to the human conflicts that follow.

Movement Between Wilderness and Settlement

The excerpts show a deliberate alternation between secluded natural settings and crowded human settlements. Enoch begins alone in the forest, but soon the narrative shifts to a settlement where the Green Mountain Boys confront a New York justice. The description of the boys' winter camp on the Otter River—a lonely piece of wood—contrasts sharply with the later scene of a roof being lifted off a house amid great shouting and good-nature. This back-and-forth structure mirrors the historical tension between frontier independence and colonial authority, and it keeps the reader moving between two poles of experience: the quiet, self-reliant life of the trapper and the noisy, collective action of the militia.

Recurring Images of Water and Ice

Water appears repeatedly as both a practical and symbolic element. The Otter Creek is a site for trapping, canoe travel, and the freezing over that forces the boys to keep the ice open about their traps with the axe. The creek also serves as a boundary and a route: the ancient trail leads to a ford, and the boys hide their canoe on its bank. In the settlement scene, the threat of a storm which threatened drives the boys back to their camp. These details tie the characters' actions to the rhythms of the natural world—freezing, thawing, flooding—and suggest that the landscape itself is an active participant in the story, not merely a backdrop.

Sound as a Structural Cue

The excerpts use sound to mark transitions between calm and crisis. The opening clear, bell-like note of a waking bird gives way to the thunder of Ethan Allen at a door. Later, the shouting of the crowd and the good-nature of the roof-raising contrast with the earlier quiet of the forest. Even the deer's alertness—snuffed again and yet again—is keyed to auditory cues. This pattern of silence broken by noise creates a rhythm of tension and release, and it emphasizes the precariousness of life on the border, where a single sound can signal danger or resolution.

The Boy as Observer and Participant

Enoch Harding is introduced as a capable woodsman, but the excerpts show him mostly watching adult conflicts. At the Durham riot, he and his chum left immediately after the settlement of the case, returning to their traps. His perspective filters the historical events through a youthful lens: he is present but peripheral, learning from the actions of men like Allen and Warner. This positioning allows the novel to educate young readers about the period without making Enoch the primary agent of change. The narrative structure thus balances adventure with instruction, using Enoch's observations to introduce the political disputes over land titles and justice that defined the Vermont frontier.

Readers attentive to the novel's structure will notice how Foster uses the landscape—trails, rivers, and seasonal changes—to organize the plot and to reflect the characters' growing maturity. The movement between wilderness and settlement is not merely scenic but thematic, underscoring the tension between individual freedom and communal obligation. Paying attention to these shifts can deepen one's understanding of how the novel constructs its version of revolutionary-era Vermont.

Years among these shelves, I’ve noticed how With Ethan Allen at Ticonderoga hums with the pull of untamed paths, a boy finding himself in wild echoes. It reminds me, softly, of another quiet kinship where a girl’s ranch becomes her own wilderness—of terrain shaping character without a single grand gesture. Jessica Trent: Her Life on a Ranch — Story, Setting & Ideas holds that same gentle truth, and I smile each time they sit side by side.

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