The Lake of Wine — Edition Insights
Edition facts
The source record for The Lake of Wine — Edition Insights measures this digital text at 124,654 words, 9 hr 2 min estimated reading time, and 12 detected text sections.
The text analysis averages about 15.5 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
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Read the Text
me in June of the year 1800 (as privately chronicled) there came a famous evening at Whitelaw’s Club in St. James’s Street, off Piccadilly, London. There and then--according to the unattested evidence of an eyewitness--Mr. Ladislaw lost his head, Lord Dunlone his mistress, Sir Robert Linne his fortune, and Major Dalrymple his life. Thus it appears these four were all losers, and each of a material property, save the first, who, alone of the quartette, commuted his self-possession for a very real equivalent in hard cash.
“Whitelaw’s” in those days ran, of a host of gambling clubs, the deepest. It was there all heavy potations and long stakes (at which many a self-martyr burned); but the first of these were put down and the second up with an accepted solemnity of decorum that was traditional to the place and the sign of its moral endowment. Fox, in his heavier moments, had been known to hazard in its glooms occasionally, and to lose, of course; and--equally of course--to find immediate balm for his scorched fingers in the inevitable “Herodotus.” Selwyn, also, and Topham Beauclerc, and many another Georgium sidus, had played and hiccupped within its pregnant walls; but always with gravity and a weight of personal responsibility towards the foundation. “Brookes’s” might have held in its time more showy revelry; “Almack’s” have gambled in broad-brimmed straw hats, bedecked with flowers, and masks to hide the play of emotions. “Whitelaw’s” would have none of these. It had ever stood coldly aloof from flash and notoriety, accepting Todd’s definition of a club as “An association of persons subjected to particular rules,” rather than that of Johnson (the rendering has a warm personal flavour), who calls it “An assembly of good fellows, meeting under certain conditions.” From first to last it remained ponderous in self-importance and rigid in exacting the observance of its unwritten codes of conduct. If its gaming operations were large, it desired the company of no feather-brain “plungers”; but rather of players of substance, to whom cards were a market, not a raffle.
Therefore, when on this particular night no fewer than four of its members--like those in the fable--suddenly revolted against the central system, and, for a space of minutes, made havoc of its respectable traditions, it is no wonder that “Whitelaw’s” rose at the outrage like one man, and, in the upshot, pronounced sentence of club ostracism upon the delinquents. This, as it affected three, is matter of private history. The fourth escaped the distinction there and then through the interposition of “the man with the scythe.”
Faro was the game, and the stakes were swingeing The four had played from three o’clock of a Thursday afternoon to six of the Friday morning. In the white spread of day their eyes showed up blood-shot, their cheeks grimy with candle soot, their hair slack and unstrung. My lord Dunlone, who was a slipslop youth, colourless and jejune, with stains of wine on his chin and high cravat, brooded in fathomless sulkiness, the only pronounced expression he was ever real master of. His neighbour, Sir Robert Linne, had the look of a fine tormented devil, desperate and at bay.
These were the losers. Of the winners, Mr. Ladislaw was a perspiring cabbage of a man, stunted and over-headed; and he seemed drunk and amazed with his good fortune; and the major presented a lean and hungry appearance, as if his passions were devouring worms--which indeed I believe they were.
About six of the clock there came a pause in the game--the lull before the crash. Mr. Ladislaw, twinkling prosperity, bent obsequiously to the baronet, his cards clumped together in one hand.
“The stakes as before, Sir Robert?” he said in a small, confidential voice.
The other gave a hollow laugh, checking it frowningly in mid-career.
“I think so,” he said. “If there happens a margin, why--we must make it a broad one, on paper.”
“As you please, sir.”
Major Dalrymple, with his thick lips dropped apart, was gazing breathingly at his sulky neighbour. The latter, conscious of the inquiring scrutiny, pulled himself erect--a cub of ill-temper.
“Curse it!” he muttered, with a surly sidelong glance. “What am I being stared at for, curse it?”
“Your pardon, my lord,” said the major, in a high, stiff voice. “I looked only to inquire your stake.”
“I can settle it myself, sir, without your help”--and, with a very meaning action, he held his cards face-downwards upon his breast.
The major went back in his chair, his corded hands thrust out rigidly before him on the table.
“My lord Dunlone,” he said, “impugns not only my judgment, but my honour!”
“Oh, curse it!” cried the Viscount. “What have I said?”
“It was your action spoke, sir.”
The novel opens with a precise date—June 1800—and a gambling club, Whitelaw's, where four men lose distinct possessions: one his head, another his mistress, a third his fortune, and a fourth his life. The epigraph from the ballad 'The Heir of Linne' foreshadows themes of prodigality and hidden treasure. Capes's prose is brisk and concrete, naming losses without moralizing, and the club is described as a place of 'heavy potations and long stakes.'
Diction and the Language of Loss
The narrator's vocabulary is precise and often legalistic: 'losers,' 'commuted,' 'material property.' The opening paragraph itemizes losses with a ledger-like clarity. Later, a character reflects on 'years of reformation' bridging him from a past phase of life, suggesting a vocabulary of moral accounting. The epigraph's archaic English ('thou wilt spend thy lande so broad') contrasts with the club's modern, urban setting, creating a tension between old and new forms of ruin.
Dialogue and Unspoken Tension
Dialogue is spare and laden with subtext. When Miss Royston asks if Mr. Tuke knows Lord Dunlone, the exchange is clipped: 'I? Yes—I recognize him, I think.' Her suspicion that he might be 'the nobleman’s valet' reveals class anxiety. Tuke's internal thought—'The fellow goes townwards from his Cornish place. ’Tis in sort with his cursed parsimony'—is never spoken aloud. Capes uses indirect discourse to expose characters' guardedness, especially during the coach journey where 'mutual relations should be marked by some coldness and embarrassment.'
Descriptive Detail and Atmosphere
Capes builds atmosphere through sensory detail: the 'chocolate' coach 'traced all over with gilt lettering like a Christmas calendar,' the 'half-dead outsides' calling for mulled port, the 'crimson spot of light' on Hounslow Heath that becomes a 'leaping flame.' The frosty landscape is described as bearing 'evidence in its appearance of such garnered stores of it as could, at a nod, sow the world with winter.' Such personification and simile give the setting a menacing vitality, mirroring the characters' internal frost.
Structure and the Use of the Epigraph
The epigraph is not decorative; it provides a structural key. The ballad's story of a prodigal son who finds a hidden treasure in a lodge parallels the novel's plot involving a ruby ('the lake of wine'). The opening chapter's list of four losers echoes the ballad's four stanzas of loss. Capes interleaves the archaic with the contemporary, as when the modern coach passes a scene that could be from the ballad—a lonely glen, a hidden cache. This structural mirroring suggests that the novel will explore whether the old moral pattern still holds.
Readers attentive to Capes's diction will notice how he uses the language of finance and gambling to describe personal relationships. The coach journey, with its frost and silence, is a microcosm of the novel's larger concerns: hidden pasts, class suspicion, and the weight of unspoken knowledge. The epigraph is not merely a preface but a lens through which the narrative's events can be read as a modern variation on an old ballad.
Capes’s narrator shuffles through frost-rimed coach rides with a gambler’s hollowed heart. That lingering ache for a lost, glittering prize reminded me of wandering through the strange optimism of The High Place: A Comedy of Disenchantment — Context and Discussion, where the bright dream of restoration also feels fragile, like holding a ruby too long. Both leave a warmth that quietly cools.
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