The aristocrats — A Reader’s Guide

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Atherton, Gertrude Franklin Horn, 1857-1948 Project Gutenberg 2024 Not confirmed
Man-woman relationships -- Fiction; Upper class -- Fiction; British -- United States -- Fiction; Adirondack Mountains (N.Y.) -- Fiction Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 56,564
Reading time 246 min
Text sections 13

Before opening The aristocrats — A Reader’s Guide, the edition data offers a quick orientation: 56,564 words, 4 hr 6 min estimated reading time, and 13 detected text sections.

The text analysis averages about 18.4 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 “Man-woman relationships -- Fiction,” connecting these edition facts with the source record’s subject description.

Lady Helen Pole's letters from the Adirondacks reveal a clash between British aristocratic sensibility and American wilderness, with a narrative voice that shifts from amused observation to visceral descriptions of nature's power.
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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

there were such things outside of books and noospapers.”

“Well, you shall speak to my brother,” I said. “Come with me.” I led the way to the veranda, not without misgivings, for I did not know what sort of humour our invalid would be in. And he _was_ in a wax about something.

“Bertie,” I said, “here is a young person, native to this beautiful wilderness, who wants to speak to you, being under the delusion that Dukes are quite unlike ordinary mortals.”

Bertie, who was muffled up in a horrid old overcoat, with white mits on his hands, glowered over his book.

“What rot!” he exclaimed. “What infernal rot. I should think you would have more sense. I wish you’d get me a decent novel. I hate these American things--all analysis, epigrams, scenery and virtue. America must be a provincial hole. Fetch me----”

But I had hastened the maiden away. As she was about to retire to the back regions, she stopped and turned her head.

“Well,” she remarked, “I guess I’m as good as he is, anyway. White mits! My land! _He_ don’t make me feel nobody, only tired.” And she looked quite pleased as she flirted her skirts through the doorway.

This letter should go by parcel post!

_From the Lady_ HELEN POLE _to the Countess of_ EDGE _and_ ROSS.

_Boulder Lake_, June 23d

None of the Club people here yet, and if it were not for newspapers and letters--a man in the employ of the Club climbs this perpendicular mountain every evening with the post--I should cease to believe in a world which lives in my mind as a mere clash of sound. It _is_ so quiet here! Sometimes when I am alone in my room I throw a shawl over the clock to muffle its ticking. It seems a cheap intrusion upon this colossal silence. I have been in the woods for hours at a time when not even a bird has trilled, nothing but that soft soughing of the unsleeping wind in the tree-tops. In the evening an occasional caw-caw comes from the forest, a lonesome cricket shrills, a frog croaks in the reeds.

I often go deep down into the forest and listen to the faint monotonous hum of the leaves, always a soft sound, when one gets away from the rigid spruce, because the leaves of the maple are as delicate in texture as they are in tint. And these leaves, in places, seem to fill the woods. Unless you throw back your head you barely realise the existence of the trees, only that gently moving lace-like curtain of green many-pointed leaves that meets the leafy ground. The sunlight splashes here and there. I have found a gorge whose gloom is eternal; in the friendlier depths the twilight is almost green. You know how I despise all theologies and churches and vulgar public demonstration of what should be man’s most sacred inner life; but when I am alone in the forest I always say my prayers; and that occasional solitary communion with God is surely the only true religion for intelligent beings. I have heard of “revival meetings” in which people “stand up and confess Christ.” _Public emotions._ How unutterably vulgar and cheaply sensational. And what pleasure can a religion be that is shared with the multitude, that is formulated, ticketed, branded with the approval of others? I hope everybody I know, except the one or two I love, thinks me a pagan. I am jealous of what is more truly my own than anything else can ever be.

The novel unfolds entirely through Lady Helen Pole's letters to her friend Polly, the Countess of Edge and Ross, a structure that immediately establishes a confiding, spontaneous tone. Her voice is marked by dashes, exclamations, and a blend of worldly irony and genuine wonder—as when she describes the "primeval wilderness" and the "almost uncanny" sensation of trees with ancient lineages. The epistolary form allows for abrupt shifts in pace: a passage about the "corduroy" road and stumbling horses gives way to a sudden, intense desire to approach a distant mountain, propelling the narrative into a storm sequence that dominates the excerpt.

An Epistolary Voice Between Worlds

Lady Helen's letters oscillate between the language of a seasoned traveler and that of a woman startled into new perceptions. She describes the Adirondacks as "so new, so various, so contradictory, so vital, so un-European," a list that conveys both cataloging and enthusiasm. Her syntax often mirrors her surroundings: long, winding sentences for leisurely observations, then clipped phrases during the storm. The letter format lets her address Polly directly, creating intimacy even when recounting mundane details like the difficulty of finding a house. This voice is neither fully British nor American; it inhabits a borderland where aristocratic composure meets raw landscape.

Pace and the Sudden Storm

The narrative pace changes dramatically when Lady Helen decides to "get closer to that mountain." Her leisurely description of picking her way down the mountain—"over logs that slipped and stones that cut"—builds a rhythm of effort. Then the storm arrives with a "loud familiar rumble," and the prose accelerates: sentences shorten, and sensory details intensify—"the sudden brief copper of the sky," lightning that "seemed to have got beyond control of itself." The shift from reflective to urgent is abrupt, mirroring the storm's own suddenness. The encounter with the frightened girl, whose vernacular contrasts sharply with Lady Helen's polished speech, further quickens the scene, adding a comic yet anxious counterpoint.

Setting as a Character in Motion

The Adirondack landscape is not static backdrop but an active force. Lady Helen notes the mountains "towering irregularly in all directions," and the forest feels ancient, almost sentient. The storm transforms the setting: the sky becomes "forked and torn with fire," the ruined church a "mournful object" that gains menace. Even the cows are mentioned with a sigh. The setting dictates the characters' movements—the "almost perpendicular" road, the locked church door—and forces Lady Helen into improvised shelter. Her descriptions blend aesthetic appreciation with physical discomfort, making the wilderness both sublime and inconvenient.

Readers should attend to how Lady Helen's register shifts when she reports dialogue versus her own thoughts, and how the storm sequence condenses time. The letters are dated but not numbered, so the gaps between them may be as telling as the content. Notice also the recurring motif of watching and being watched—by Mr. Rolfs, by the girl—which hints at social undercurrents beneath the wilderness adventure.

Reading Lady Helen’s letters, I kept thinking of that strange quiet in The club of masks — Context and Discussion—how both books hold a person’s attempt to keep composure while the world refuses to behave. Her amused detachment fraying against the Adirondack trees reminded me of those masked figures, similarly poised, equally undone. It felt less like comparison, more like recognition.

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