The Royal Regiment, and Other Novelettes — Text and Context

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Grant, James, 1822-1887 Project Gutenberg 2021 Not confirmed
Scotland -- Fiction; Scotland -- History, Military -- Fiction Readers of public-domain and historical texts
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Edition facts

Words 77,079
Reading time 336 min
Text sections 7

The source record for The Royal Regiment, and Other Novelettes — Text and Context measures this digital text at 77,079 words, 5 hr 36 min estimated reading time, and 7 detected text sections.

The text analysis averages about 26.1 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 “Scotland -- Fiction,” connecting these edition facts with the source record’s subject description.

James Grant's collection of novelettes and sketches, centered on military life in Scotland and India, contrasts duty with personal desire through precise details of uniform, setting, and emotional restraint.
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THE RUTHVENS OF ARDGOWRIE

THE FATAL DAY OF THE RUTHVENS

THE CABINET OF SCINDIA

"PONTIUS PILATE'S GUARDS"

"LOVE WAS YET THE LORD OF ALL"

THE ABDUCTION OF AURELIA

CLARE THORNE'S TEMPTATION

THE GREAT SEA SERPENT

MILITARY "FOLK LORE."

THE RED COAT; A FEW NOTES CONCERNING ITS ORIGIN AND HISTORY

FURTHER NOTES ON ITS HISTORY AND ON REGIMENTALS

FAMOUS AND ANCIENT BANNERS

FAMOUS AND ANCIENT CANNON

STORY OF A MERCHANT CAPTAIN

THE STORY OF RENÉE OF ANGERS

LAURA WENLOCK'S CHRISTMAS EVE

THE RUTHVENS OF ARDGOWRIE.

"Thank Heaven, then I am not too late!" exclaimed Roland Ruthven, as he sprung on the horse that awaited him at the door of the hotel where he had arrived but an hour before; "there is no message for me specially?"

"None, sir," said the mounted groom, touching his hat, and shortening his gathered reins.

"Is living still, Master Roland; but that is all, I fear," replied the old man, with a sigh.

"Come on then, Buckle, old fellow; I think the grey nag knows my voice, though I have not been on his back for four years."

And spurring his horse, "Master Roland," as the grey-haired groom still called him, though he was nearer thirty than twenty years of age, and had held Her Majesty's commission for ten of them, departed at a rasping pace that soon left the stately streets, the spires and shipping of Aberdeen far behind them.

The royal residence at Balmoral had barely as yet been thought of, and railways had not then penetrated into the valley of the Dee; thus, all anxious as Roland Ruthven was to learn details of the perilous illness of the fine old soldier his father--the only kinsman he had in the world--at whose summons he had crossed two thousand miles and more of sea, he could only trust now to the speed of his horse, and without further questioning old Bob Buckle the groom, rode at a hard and furious gallop along the old familiar ways that led towards his home among the mountains, behind which the bright sun of a glorious evening--one of the last in June--was sinking.

Closely rode the old groom behind him, marvelling to find that the little golden-haired boy, whom he had first trained to ride a shaggy Shetlander, had now become a dark-whiskered, tall, and handsome man, well set up by infantry drill, and with all that air and bearing which our officers, beyond those of all other European armies, alone acquire, developed in chest and muscle by every manly sport; and he could recall, but with a sigh, how like "Master Roland" was now, to what the old dying Laird his father had been at the same age, when his regiment, the Royal Scots, was adding to its honours in the Peninsula--more years ago than he cared to reckon now.

And vividly in fancy too, did Roland Ruthven see before him the figure and face of that handsome old man, ere the latter became lined with care and thoughts and even his voice seemed to come distinctly to his ear, as the familiar objects of the well-remembered scenery came to view in quick succession, and at last Ardgowrie, the home of his family, rose before him in the distance, its strong walls shining redly in the setting sun.

Situated among luxuriant woods, in all their summer greenery, Ardgowrie presents the elements common to most of the northern mansions of the same age and kind--a multitude of crow-stepped gables encrusted with coats of arms, conical turrets, and angular dormer windows, giving a general effect extremely rich and picturesque, as their outlines cut the deep blue of the sky.

Notwithstanding its age, Ardgowrie is unconnected with the usual memories of crime and violence which form the general history of an old Scottish feudal fortalice, and yet it stands in the glorious valley of the Dee, between the central highlands and the fruitful lowlands, where in former ages it has been said "that the inhabitants of the two districts, thus joined by a common highway, were as unlike each other in language, manners and character as the French and the Germans, or the Arabs and the Caffres."

"At last!" exclaimed Roland, with a sigh of satisfaction, as he spurred his horse down a long and rather gloomy avenue of genuine old Scottish firs, dignified and magnificent trees, with massive trunks of dusky red, and foliage of bronze-like hue. "Ardgowrie at last!" he added, as he reined up at the stately entrance of his home, for to this moment had he looked forward with intense anxiety during the long voyage from America, while his affectionate heart had beat responsive to every throb of the mighty engines of the great Atlantic steamer.

James Grant opens The Royal Regiment with Roland Ruthven spurring a grey nag that still knows his voice after four years, a small detail that immediately establishes the importance of memory and continuity in a world of military service. The narrative voice is brisk and concrete, describing a groom who touches his hat and shortens his gathered reins, and a rider who calls his horse by name. These gestures of familiarity and duty recur throughout the collection, whether in the braided white kalkee uniform of an officer in India or the grave bow exchanged between former lovers in a church. Grant builds his stories around such precise, physical markers—a pith helmet encircled by a blue veil, a flowing white Indian cassock—that anchor emotional conflicts in the tangible details of military and colonial life.

Uniforms as Emotional Markers

Grant uses military dress not merely as period color but as a shorthand for character and conflict. In the excerpt from Clare Thorne's Temptation, the contrast between Fred Wilmot in his “braided white kalkee uniform” and Cecil Thorne in his “flowing white Indian cassock” is also a contrast in temperament: Wilmot is lithe, embrowned, handsome; Thorne is square, grave, seldom smiling. The uniform signals the man’s role—soldier versus clergyman—and the emotional distance between them. Similarly, Roland Ruthven’s spurring of his horse and the groom’s “shortening his gathered reins” are small but telling actions that convey urgency and hierarchy. Grant’s eye for the specific cut of a coat or the color of a veil gives his fiction a documentary texture, grounding romantic and dramatic scenes in the material world of the regiment.

The Weight of Duty in Colonial Settings

The Indian station of Mirzapatam is sketched through heat, boredom, and the narrow European circle that makes evasion impossible. Clare Thorne, a former governess who married for a home, finds herself trapped between her husband’s “awful sense of propriety” and the reappearance of a former lover. Grant conveys her restlessness through small, precise observations: she resolves to ride out in the cool of the evening to avoid Wilmot, but knows that “to evade him always in the narrow European circle at Mirzapatam she knew would be impossible.” The setting itself—sun-baked, remote, filled with buggies and band stands—becomes a pressure chamber for the story’s emotional tension. Grant does not moralize; he lets the details of colonial routine—the husband’s long absences on parochial duties, the advice about what to wear and where to walk—accumulate into a portrait of constraint.

Recurring Patterns of Separation and Return

Across the excerpts, Grant returns to the moment of arrival or departure as a hinge for his plots. Roland Ruthven arrives at a hotel and springs onto a horse, racing to reach his dying father. Fred Wilmot arrives at Mirzapatam with his regiment, and the sight of him in church triggers Clare’s memory of “the love that took an early root, / And had an early doom.” These arrivals are charged with the possibility of change, yet Grant undercuts easy resolution: Roland may be too late; Clare knows she cannot escape the past. The structure of these scenes—a character returning after years, a horse that remembers its rider, a glance exchanged in a pew—creates a pattern of repetition and recognition that gives the collection its emotional coherence. Grant’s fiction is built on such moments of convergence, where the weight of the past meets the inflexible present.

Readers will find that Grant’s attention to the physical details of military life—the cut of a uniform, the sound of a band, the heat of an Indian noon—does more than provide local color. It creates a world in which every object and gesture carries emotional weight. The collection rewards attention to these small, recurring elements: the grey nag that knows its rider’s voice, the pith helmet carried under an arm, the sermon that goes unheard. Grant’s fiction is best approached as a series of such precise, telling moments rather than as a continuous narrative.

Years ago, shelving Grant’s Royal Regiment, I lingered on how its soldiers measure their hearts by the heft of a uniform. That same quiet ache for loyalty over comfort lives in The Witch's Head — Text and Context, where restraint does the weeping for us. They whisper to one another across the decades. A patient librarian notices such things.

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  • ...
    Jose Norman - 1 month ago
    While the title suggests a focus on royalty, many of these novelettes meander and lack the tight plotting of the author's later works. The prose is often florid and the dialogue can feel stilted. I found it difficult to engage with the characters, and the romantic elements felt forced. A disappointment compared to the author's other books. Only for completists or those with a strong love for old-fashioned romances.

  • ...
    Melanie Amanda Marshall - 3 weeks ago
    This anthology offers a solid sample of the author's early work, with 'The Royal Regiment' being the most memorable. The stories are well-written and showcase a talent for character development. However, some tales feel dated and the pacing can be uneven, making it a read best enjoyed by those who appreciate vintage storytelling. Overall worth a look, but not every story will resonate equally.

  • ...
    Angela Steven Scott - 3 weeks ago
    A delightful collection of romantic and adventurous novelettes that transport you to a world of royal intrigue and passion. Each story is masterfully crafted with vivid characters and engaging plots that keep you turning pages. Perfect for fans of classic romance and historical fiction. The Royal Regiment stands out as a gem, but every tale in this anthology offers its own unique charm and depth. Highly recommended for a cozy evening read.


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