The Royal Regiment, and Other Novelettes — Text and Context
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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.
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Project Gutenberg metadata also associates the work with “Scotland -- Fiction,” connecting these edition facts with the source record’s subject description.
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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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