The Sun of Saratoga: A Romance of Burgoyne's Surrender — Edition Insights
Edition facts
The Sun of Saratoga: A Romance of Burgoyne's Surrender — Edition Insights can be approached with a clearer sense of reading commitment from its source measurements: 62,982 words, 4 hr 34 min estimated reading time, and 6 detected text sections.
The text analysis averages about 16.5 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 “Saratoga Springs (N.Y.) -- Fiction,” connecting these edition facts with the source record’s subject description.
Calculated from edition completeness, EPUB availability, text structure and catalogue metadata. Not a user rating.
How this score is calculated
- Description quality20 pts
- Title & short description10 pts
- Source metadata20 pts
- Text length15 pts
- Chapters / structure15 pts
- EPUB file integrity20 pts
Total of 100 points, scaled to a 2.5-5.0 range. Editions with an empty description or a missing EPUB file are not scored.
Read the Text
“You will watch this hollow and the hill yonder,” said the general, “and see that not a soul passes either to the north or to the south. Don’t forget that the fate of all the colonies may depend upon your vigilance.”
I felt much discomfort. I submit that it is not cheering to have the fate of thirteen large colonies and some two or three million people, men, women, and children, depend upon one’s own humble self. I like importance, but not when it brings such an excess of care.
I looked to Sergeant Whitestone for cheer.
“We are not the only men on watch to cut off their messengers,” he said. “We have our bit of ground here to guard, and others have theirs.”
Then he sat down on the turf and smoked his pipe with provoking calm, as if the troubles of other people were sufficient to take our own away. I decided to stop thinking about failure and address myself to my task. Leaving the sergeant and the four men who constituted my small army, I took a look about me. The hollow was but a few hundred yards across, sparse-set with trees and bushes. It should not be difficult to guard it by day, but by night it would be a different matter. On the hill I could see the walls and roof of the Van Auken house. That, too, fell within my territory, and for reasons sufficient to me I was sorry of it.
I walked part of the way up the hillside, spying out the ground and seeing what places for concealment there might be. I did not mean to be lax in my duty in any particular. I appreciated its full import. The great idea that we might take Burgoyne and his whole army was spreading among us, and it was vital that no news of his plight should reach Clinton and the other British down below us.
I came back to Sergeant Whitestone, who was still sitting on the ground, puffing out much smoke, and looking very content.
“I don’t think we need fear any attempt to get through until night,” he said. “The dark is the time for messengers who don’t want to be seen.”
I agreed with him, and found a position of comfort upon the grass.
“There’s our weak point,” said the sergeant, waving his hand toward the Van Auken house.
I was sorry to hear him say so, especially as I had formed the same opinion.
“But there’s nobody up there except women,” I said.
“The very reason,” replied the sergeant.
I occupied myself for a little while tossing pebbles at a tree. Then I disposed my men at suitable distances along our line, and concluded to go up to the house, which going, in good truth, was part of my duty.
I was near the top of the hill when I saw Kate Van Auken coming to meet me.
“Good morning, Dick,” she said.
“Good morning, Mistress Catherine,” I replied.
It had been my habit to call her Kate when we were children together, but I could not quite manage it now.
“You are set as a guard upon us?” she said.
“To protect you from harm,” I replied with my most gallant air.
“Your manners are improving,” she said in what I thought rather a disdainful tone.
“I must search the house,” I continued.
“You call that protecting us?” she said with the same touch of sarcasm.
“Nevertheless it must be done,” I said, speaking in my most positive manner.
She led the way without further demur. Now I had every confidence in Kate Van Auken. I considered her as good a patriot as myself, though all her family were Tory. It did not seem to me to be at all likely that any spy or messenger of the British had reached the concealment of the house, but it was my duty to be sure.
“Perhaps you would not care to talk to my mother?” she asked.
“No!” I replied in such haste that she laughed.
The narrator opens with a wry confession: entrusted with guarding a hollow and hill, he feels the weight of thirteen colonies on his shoulders—and promptly complains about it. This self-deprecating tone, paired with Sergeant Whitestone’s phlegmatic pipe-smoking, sets the novel’s voice: earnest yet ironic, alert to the absurdity of grand duties. The prose moves between tense observation and casual banter, as when Whitestone drops his h’s to impersonate an Englishman. The setting is the Hudson Valley in 1777, but the real terrain is the narrator’s mind, where vigilance and doubt wrestle.
A Voice That Undermines Itself
The narrator’s first-person account is marked by a deliberate lack of heroic posturing. He admits to “much discomfort” at having the fate of millions depend on his watch, and later calls Whitestone “a very handy man to have about in an emergency” for suggesting they simply ride away from suspicious men. This self-deprecation recurs: he regrets not removing travel dust before entering a tavern, and he laughs off a tense encounter by claiming to hate rebels. The voice is conversational, with asides like “I submit that it is not cheering” and “I like importance, but not when it brings such an excess of care.” This creates a narrator who is both reliable in his observations and unreliable in his self-assessment—he is more capable than he lets on.
Disguise and Double Meanings
Disguise is not just a plot device but a linguistic game. The narrator and Whitestone pose as British officers from “Bayle’s regiment,” and Whitestone’s comic mangling of h’s—dropping them where they belong and adding them where they don’t—is described as his “first and last appearance as an Englishman,” yet it succeeds. The narrator’s laugh and tap on the shoulder (“I hate rebels”) is a performance that the suspicious men accept. The text lingers on these moments of deception, showing how identity is negotiated through tone, gesture, and accent. The narrator’s internal commentary—he regrets not cleaning up, he notes Whitestone’s feigned dreaminess—reveals the gap between appearance and reality that drives the spycraft.
Pacing Through Observation and Action
The narrative alternates between static observation and sudden movement. Early passages dwell on the landscape: the hollow “sparse-set with trees and bushes,” the Hudson as “a great ribbon of silver or gray.” Then action breaks in—a shot from a window, a ride southward, a confrontation with two horsemen. The shift is abrupt: “I was occupied with the beauty of the scene, when Whitestone called my attention and pointed ahead.” This rhythm of calm then crisis mirrors the narrator’s own tension between duty and distraction. The excerpts show a pattern: a moment of reflection (the sergeant smoking, the river’s beauty) is punctured by a threat (the shot, the blocking horsemen). The pace is not uniform; it accelerates and decelerates, keeping the reader off-balance.
Readers should attend to the narrator’s tone as much as the plot. His self-mockery and Whitestone’s dry humor are not mere decoration—they signal how the characters navigate a world of shifting allegiances. The novel’s romance lies less in battles than in the tension between what is said and what is meant. Watch for moments when the narrator’s voice wavers: those are the hinges of the story.
Reading this young officer’s halting confessions, I remembered my own grandfather’s war letters—the jokes that couldn’t hide his fear. Later, The ward of Tecumseh stirred that same ache, how identity bends under history’s weight. Some books don’t tell you a story; they hand back a piece of yourself you’d set down. The ward of Tecumseh — Text and Context felt like that, a quiet echo from another time.
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