The Hidden Servants and Other Very Old Stories — Edition Insights

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Alexander, Francesca, 1837-1917 Project Gutenberg 2015 Not confirmed
Poetry Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 34,535
Reading time 151 min
Text sections 7

For The Hidden Servants and Other Very Old Stories — Edition Insights, the stored edition analysis reports 34,535 words, 2 hr 31 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 “Poetry,” connecting these edition facts with the source record’s subject description.

A collection of narrative poems retelling old Italian legends, characterized by a rhythmic, ballad-like voice and a focus on moral dilemmas. The excerpt shows a shift from a leisurely, scene-setting introduction to a tense, dialogue-driven confrontation between two brothers over charity and spiritual merit.
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Editorial Edition Score 4.6/5

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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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h to age, for his life’s repose. There had he lived for forty years, Trying, with penance and prayers and tears, To make his soul like a polished stone In God’s great temple; for this alone Was the one dear wish that his soul possessed, And ’t was little he cared for all the rest,

Nothing had changed since first he came; The sky and the mountain were all the same, Only a beech-tree, that there had grown Ere ever he builded his cell of stone, Had risen and spread to a stately grace, And its shifting shadow filled half the place. Many a winter its storms had spent, Many a summer its sunshine lent To the little cell, till it came to look Like another rock in the peaceful nook. Mosses and lichen had veiled the wall, Till it hardly seemed like a dwelling at all.

’T was a peaceful home when the days were soft, And spring in her sweetness crept aloft From the plains below where her work was done, And the hills grew green in the warming sun. And in summer the cell of the hermit seemed Like part of that heaven of which he dreamed: For the turf behind those walls of flint Was sprinkled with flowers of rainbow tint; And never a sound but the bees’ low hum, As over the blossoms they go and come; Or—when one listened—the fainter tones Of a spring that bubbled between the stones.

But dreary it was on a winter’s night, When the snow fell heavy and soft and white. And at times, when the morn was cold and keen, The footprints of wolves at his door were seen. But cold or hunger he hardly felt, So near to heaven the good man dwelt; And as for danger—why, death, to him, Meant only joining the Seraphim!

Poorly he lived, and hardly fared; And when the acorns and roots he shared With mole or squirrel, he asked no more, But thanked the Lord for such welcome store. The richest feast he could ever know Was when the shepherds who dwelt below, Whose sheep in the mountain pastures fed, Would bring him cheeses, or barley bread, Or—after harvest—a bag of meal; And then they would all before him kneel, On flowery turf or on moss-grown rocks, To ask a blessing for them and their flocks,

And once or twice he had wandered out To preach in the country round about, Where unto many his words were blest; Then back he climbed to his quiet nest. By all in trouble his aid was sought; And women their pining children brought, For a touch of his hand to ease their pain, And his prayers to make them strong again.

And now one wish in his heart remained: He longed to know what his soul had gained, And how he had grown in the Master’s grace, Since first he came to that lonely place. This wish was haunting him night and day, He never could drive the thought away. Until at length in the beech-tree’s shade He knelt, and with all his soul he prayed That God would grant him to know and see A man, if such in the world might be, Whose soul in the heavenly grace had grown To the self-same measure as his own; Whose treasure on the celestial shore Could neither be less than his nor more. He prayed with faith, and his prayer was heard; He hardly came to the closing word Before he felt there was some one there! He looked, and saw in the sun-lit air An angel, floating on wings of white; Nor did he wonder at such a sight: For angels often had come to cheer His soul, and he thought them always near. Happy and humble, he bowed his head, And listened, while thus the angel said: "Go to the nearest town, and there, To-morrow, will be in the market square A mountebank, playing his tricks for show: He is the man thou hast prayed to know; His soul, as seen by the light divine, Is neither better nor worse than thine. His treasure on the celestial shore Is neither less than thine own nor more."

The introduction to The Hidden Servants and Other Very Old Stories establishes a deliberate, almost dreamlike pace, describing a Venetian room where the poems were recited “half chanting, half reciting.” The prose lingers on atmosphere—the “quiet, green-latticed room” and “gently audible lappings” of the canal—before the verse itself takes over. This unhurried opening contrasts sharply with the later narrative excerpt, where the pace quickens into a tense exchange between two brothers. The shift from reflective description to dramatic dialogue reveals Alexander’s control over tempo, using the slower passages to frame the moral weight of the story that follows.

Rhythmic Voice and Ballad Cadence

The poems in this collection are written in a consistent ballad meter, with alternating lines of eight and six syllables that create a lulling, chant-like rhythm. The introduction notes that this “lilt” is “apparent even in the printed line” but requires “a voice trained to Italian cadences” to be fully realized. In the excerpt, the rhythm supports the narrative: regular couplets carry the dialogue between the Patriarch and Bishop Troilus, while the dream sequence shifts to a more flowing, descriptive pattern. The meter never breaks, but the emotional weight changes with the content—from the clipped urgency of the bargain (“Will you take again the money, and let your good deed be mine?”) to the expansive vision of the holy city. This rhythmic consistency gives the collection a unified oral quality, as if each poem were meant to be spoken aloud.

Moral Dialogue and Contractual Language

The central conflict in the excerpt unfolds through a formal, almost legal exchange. The Patriarch proposes a contract: he will return thirty gold pieces if Troilus relinquishes the spiritual merit of his charity. The language is precise and transactional: “We must write it all in order, we must sign and seal it too.” This bureaucratic framing contrasts with the spiritual stakes—the Patriarch fears for Troilus’s soul, while Troilus treats the bargain as a fair division of labor (“I the souls, and you the bodies”). The dialogue reveals character through syntax: Troilus’s speeches are smooth and self-assured, while the Patriarch’s are halting, filled with appeals to scripture. The contract becomes a device to test faith, and the poem’s tension hinges on whether words can truly transfer grace.

Shifts in Pace: From Bargain to Vision

The excerpt’s most striking structural shift occurs after the contract is signed. The rapid back-and-forth of the dialogue gives way to a slow, sensory description of Troilus’s dream. The pace decelerates markedly: “Then a dream was sent to bless him, as in quiet sleep he lay.” The verse expands into longer, more elaborate lines, describing “palm-trees growing stately by the water, crystal clear” and “music ever swelling.” This change mirrors Troilus’s own mental state—from feverish calculation to peaceful rest. However, the vision remains incomplete; Troilus cannot see what the saints behold, because “his eyes were mortal still.” The poem thus uses pace to underscore the limits of human perception. The dream’s languid beauty is undercut by the knowledge that Troilus has traded away his spiritual sight.

Readers may find it useful to read these poems aloud, as the meter and rhyme are designed for oral performance. Pay attention to the moments when the narrative slows—these often signal a shift from action to reflection or vision. The collection’s moral arguments are embedded in dialogue and contract, not in authorial commentary, so the characters’ words carry the full weight of the themes.

Those old brothers in the poems argued about charity, and I couldn't stop thinking about how our own choices echo inward. It reminded me of a quiet guide that lingers on a different legend, one where the water keeps a secret. I found myself returning to that feeling with A Legend of Goat Island — A Reader’s Guide. The same hush stayed with me afterward.

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