Gloria — A Closer Reading

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Turner, George Frederic, 1876-, Relyea, C. M. (Charles M.), 1863-1932 [Illustrator] Project Gutenberg 2024 Not confirmed
Princesses -- Fiction; Americans -- Europe -- Fiction; Revolutions -- Fiction; Imaginary places -- Europe -- Fiction Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 88,137
Reading time 384 min
Text sections 8

The catalog record for Gloria — A Closer Reading provides practical reading context through 88,137 words, 6 hr 24 min estimated reading time, and 8 detected text sections.

The text analysis averages about 15.8 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 “Princesses -- Fiction,” connecting these edition facts with the source record’s subject description.

An American in the fictional kingdom of Grimland navigates court intrigue, revolutionary unrest, and a rivalry with a Prussian officer, as revealed through the opening's New York Christmas scene and later confrontations in the Thiergarten and a wine-shop.
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Editorial Edition Score 4.8/5

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  • Description quality20 pts
  • Title & short description10 pts
  • Source metadata20 pts
  • Text length15 pts
  • Chapters / structure15 pts
  • EPUB file integrity20 pts

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.

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Read the Text

unders was a man of much merit.

"Because this skating competition happens to be held here," he answered, "and the King's Cup is the important event in the sporting calendar of Grimland. The winner--who may be yourself--is looked upon as a king among men, a demi-god to be honoured with the burnt offerings of the rich and the bright glances of the fair."

"The latter I can dispense with. Cut it out!" the American exclaimed with much bitterness, and then went on: "I did not come to Grimland merely for sport, as you well know, but because you hinted at political troubles. Moreover, I have taken your advice literally, and have brought my gun along."

"Keep it loaded then," said Saunders curtly. "I hear Father Bernhardt has returned."

"Who in thunder is Father Bernhardt?"

"A renegade priest. In the troubles of 1904 he eloped with the Queen, who had been plotting her husband's downfall with the Schattenbergs."

"His Majesty's opposition," put in Trafford, who knew something of the country's turbid history.

"Yes, kinsmen of King Karl's who have always cherished a secret claim to the throne. They very nearly made their claim good, too, in 1904."

"Only one Robert Saunders intervened," interjected Trafford with an envious glance at his companion.

"Providence upheld the ruling dynasty with a firm hand," Saunders went on to explain, "and the rebellious family, the Schattenbergs, were pretty well wiped out in the process. Two alone survived:--Prince Stephan,--who was too young to participate in the trouble, and who subsequently died of diphtheria at Weissheim,--and the Princess Gloria,--a girl of one-and-twenty, who escaped over the Austrian frontier."

"And what is she doing?" inquired Trafford with some approach to curiosity.

"No one exactly knows. Unless she has altered in three years, she is a beautiful young woman. She lives in the public imagination partly because she is a possible alternative to King Karl, who has the demerit of being a respectable middle-aged man. If,--as is rumoured,--she is in alliance with Father Bernhardt, there will certainly be trouble, for the ex-priest is a man of energy and resource. Moreover, he was once a religious man, and believed himself damned when he ran away with King Karl's fickle consort; and a man who is looking forward to eternal damnation is as dangerous in his way as a Moslem fanatic seeking Paradise."

Trafford said nothing, but breathed a silent prayer that the renegade priest might indeed be in Grimland. For Trafford was one of those curiously constituted people--rarer now than they used to be--who value excitement without counting the cost. At Oxford he had always regarded Saunders with a deep, if unmalicious envy. The Englishman had captured the highest honours, had won his cricket blue, performing prodigies at Lord's before enthusiastic men and women; and, later, had played a conspicuous, almost heroic, part in the Grimland troubles of 1904. On the other hand, he, Trafford--Nervy Trafford--had to be content both at Harvard and Oxford with only limited athletic successes, these being achieved by sheer pluck and infectious energy. But men had always loved him, for he could sing a rousing song, dance a spirited war-dance, and kindle bonfires in unexpected places with the most expensive furniture. In a word, his was an ardent, effervescent nature, and now that the tragedy of a tumultuous but misplaced passion had robbed life of its normal interest and savour, his ideas of a diverting holiday were of a distinctly reckless nature.

Wandering down the Bahnhofstrasse they purchased a few picture-postcards at a stationer's, a meerschaum pipe at an elegant tobacconist's where they sold Hamburg cigars in Havana boxes, and finally halted before a big corner shop where all the paraphernalia appertaining to winter sports were displayed in interesting and attractive profusion.

"I thought you had a good pair of skates," said Saunders.

"So I have," returned the other. "But there are two styles of skating, the English and the continental; and I am one of those rarely gifted Americans who can skate both styles equally well,--a fact I intend to take advantage of at this competition. But I need a different pair of skates for each style."

"Do you think you're really any good?" asked Saunders, smiling. He was accustomed to refer to his own abilities in eulogistic terms, but was not used to his companion doing so.

"If you were to ask that question in Onondaga, New York, U.S.A.,--where I was born and bred,--they'd laugh at you," was Trafford's serious reply.

"All right, let's go in and buy something from Frau Krabb," said Saunders, leading the way into the shop.

The novel opens on Christmas Eve in New York, contrasting the festive bustle of Broadway and Fifth Avenue with a young man's acute distress in a theatre. He abandons a performance of Antony and Cleopatra to intercept occupants of a box, his eyes having been "riveted" on them all evening. The narrator's tone is arch and detailed, describing "gaunt lines of assassinated turkeys" and the protagonist as a "soul in distress." This immediate focus on a love-struck, impatient observer sets a tone of romantic urgency and social observation.

The story quickly shifts to the fictional European kingdom of Grimland, where the American Trafford clashes with Captain von Hügelweiler. Their confrontation in Trafford's rooms reveals a power struggle over proximity to the Queen, with Trafford brandishing a matchbox as a "hand-grenade." The dialogue is sharp, with Trafford's facetious "Salaam! Sahib" and von Hügelweiler's overbearing commands, hinting at political upheaval and personal rivalry.

A Restless Opening in New York

The first chapter establishes a protagonist defined by impatience and romantic fixation. He leaves a gala performance before the final curtain, his attention fixed on a box across the theatre. The narrative voice is wry and concrete, noting the "commercially-conceived festivity" of shop windows and the "sallow nudities" of turkeys. This specificity grounds the story in a recognizable urban setting before it moves to the invented Grimland.

The young man's haste and anxiety suggest a love interest, but the text does not name her or confirm her identity. The reader is left to infer from his riveted gaze and his determination to intercept the box's occupants. This opening strategy—placing a character in a familiar locale with an unexplained obsession—creates immediate intrigue without revealing the full plot.

Confrontation and Command in Grimland

Later excerpts shift to a tense scene in Trafford's rooms, where Captain von Hügelweiler arrives with "commands." The Prussian officer's tone is deliberately overbearing, and Trafford responds with exaggerated blandness, tossing a glass matchbox. Their exchange reveals a power dynamic: von Hügelweiler claims superiority as Captain of the Guard, but Trafford counters with a private note from the Queen ordering close attendance.

The confrontation escalates when von Hügelweiler threatens to draw his sword. Trafford, unarmed, threatens to use the matchbox as a missile, calling it a "little hand-grenade." The scene is both comic and tense, highlighting Trafford's resourcefulness and the simmering political unrest. Von Hügelweiler's fury and Trafford's coolness define their rivalry, which likely drives much of the plot.

Political Unrest and a King's Fall

In the same scene, Trafford references recent upheaval: "A King has just lost his throne, a number of high functionaries have been laid low, a mass of—shall I say, scum—has come to the surface." This offhand remark situates the story in a period of revolution, though the excerpts do not detail the events. The mention of "Grimland" as the setting, combined with the chapter titles (e.g., "The King's Cup," "On the Warpath"), suggests a narrative of court intrigue and rebellion.

The excerpts do not reveal the cause of the king's fall or the nature of the new regime. However, the presence of a queen and the rivalry over proximity to her imply that the monarchy still holds power, albeit tenuously. The reader must piece together the political landscape from these hints, as the text does not provide exposition.

Voice and Structure: Arch Dialogue and Shifting Scenes

The narrative voice is distinctive: ironic, detailed, and occasionally florid. Descriptions of New York are lavish, while dialogue in Grimland is clipped and confrontational. The structure moves from a public spectacle (the theatre) to private rooms (Trafford's quarters), suggesting a pattern of contrasting settings. Chapter titles like "Wein, Weib, und Gesang" and "A Ski-ing Expedition" indicate variety in tone and activity.

The excerpts show a preference for dramatic confrontation over interior monologue. Characters reveal themselves through action and speech: Trafford's facetious bow, von Hügelweiler's livid face, the matchbox as a weapon. The reader is drawn into the immediate conflict without full context, a technique that sustains suspense. The epilogue title hints at a resolution, but the excerpts do not disclose it.

Readers approaching Gloria should attend to the interplay between its American protagonist and the European setting. The opening's New York scene establishes a worldly, ironic tone that persists through the Grimland episodes. The rivalry between Trafford and von Hügelweiler, rooted in class and national pride, drives much of the conflict. The political backdrop of revolution remains sketchy in the excerpts, so the reader must infer the stakes from characters' actions and offhand remarks. The novel rewards attention to dialogue and physical detail.

I’ve often thought how Gloria — A Closer Reading holds its breath in those Thiergarten walks, that wary dance of pride and survival under Grimland’s grey sky. It reminds me, privately, of another book’s quiet weight — The prey of the strongest — Themes and Context — where similar shadows fall on different shoulders, and both whisper the same old truth about strength’s cost.

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