Where England sets her feet: a romance — Inside the Classic

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Capes, Bernard, 1854-1918 Project Gutenberg 2022 Not confirmed
Historical fiction; Great Britain -- History -- Elizabeth, 1558-1603 -- Fiction; Adventure stories Readers of public-domain and historical texts
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Words 102,533
Reading time 446 min
Text sections 10

This digital edition of Where England sets her feet: a romance — Inside the Classic is described by source-level measurements including 102,533 words, 7 hr 26 min estimated reading time, and 10 detected text sections.

The text analysis averages about 18.5 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 “Historical fiction,” connecting these edition facts with the source record’s subject description.

Bernard Capes's 1918 romance follows Brion Middleton from a deprived vicar's school to Elizabethan London, where he navigates religious tension, personal longing, and the city's vivid, perilous streets. The opening establishes a world of compromised clergy and hidden allegiances, while later excerpts contrast rural Surrey with the bustling, macabre capital.
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When, in the second year of Elizabeth, the Act of Supremacy was passed, there were found only some two hundred in all of the clergy bold enough to dissent from it. Many, it is true, who conformed, did so without sincerity, fearing to lose their livings, and of these was Mr Robert Angell, Vicar of Clapham, or Clappenham village in Surrey, which was in the advowson of the lords of Larkhall and a very good cure. This Mr Angell, a worthy but weak divine, gained nothing, however, by his accommodation, for being suspected, whether rightly or wrongly, of Romanist sympathies, he was shortly deprived of his benefice, and forced to look elsewhere than to the Establishment for a means to subsistence. In this pass he bethought himself to set up a little private school, or palestra, for the sons of such of his neighbours as were well disposed towards him; and this he did, and with fair success, many coming to receive of him their early grounding in the A.B.C.-darius, Lily’s grammar, the _Sententiæ Pueriles_, and so on by way of Erasmus’s Colloquies to Cæsar and the Georgics, so that they were well ripe for College and University when their time came. For the Vicar was a sound scholar no less than an amiable man, and ruled by love without much authority, being little addicted to the harsh methods which obtained, and indeed were expected, in his day. He had a dame, a stupid woman but as benevolent as himself, and two or three little children, who tumbled up anyhow and were for ever in hot water, save when they most needed it.

Now to these was presently added another, a stranger, who came to board and lodge with the household when he was no more than a babe in years. His name was Brion Middleton, and he was brought in person, by one Mr Justice Bagott of the Queen’s Bench, thenceforth to be and remain a member of the Angel curriculum until otherwise notified, and eke to form an item of the Angell family--a minute ‘paying guest’, as we should now describe him. He had no parents to speak of; nor did the overbearing Justice deem it necessary to speak of them, imposing the lovely brat, without any leave asked or given, on the clergyman, over whom, it seemed, he possessed a certain hold. For so he asserted that, having professional cognizance of those Papish proclivities which had already broken the poor man, he could very well use it, if he chose, to bring about his utter destruction; which claim might or might not be true, yet in any event was supererogatory, seeing that the divine was far too meek a soul ever to question into, much less reject, the service so truculently demanded of him. Indeed, of his charity, no less than for his potential profit, he welcomed it; observing which the manner of the visitor changed, and, abating much of his imperiousness, which he found uncalled for, he proceeded forthwith in gentler speech to discuss the terms and provisions of the accommodation he desired for this derelict infant ‘ward’ of his. Planned on no grudging scale, these were to imply a virtual, if indefinite adoption by the couple, who were to do their best by their charge, make no curious inquiries regarding him, and expect no communications whatever save such as turned upon the periodic remittances for his keep, which would arrive duly dated from the Judge’s own office in Gray’s Inn. For the rest the boy was to be brought up as one of the Vicar’s own family, and in all respects given the dues of gentle birth. Having pronounced which ultimatum the visitor, casting not one look on the little wide-eyed whimpering infant, departed, as he had come, by night.

‘Poor curst imp of destiny!’ cried the clergyman, in a burst of emotion, when the other was gone.

‘Thou pretty, pretty pledge of a misguided love!’ cried his admiring lady, gazing on the babe. And then they looked at one another guiltily.

‘This,’ says he, ‘is already to break the spirit of the compact. Henceforth, silence--if for no other reason, Dame, because he hath us in his toils.’

She sighed, and caught the child to her bosom. ‘These be my toils,’ said she. ‘I will hold my tongue, lest by loosing it I loose them.’

This happened in the year 1560, and thereafter for the space of thirteen summers, his numbering but two when he arrived, Brion abode and throve sweetly under that friendly roof.

CHAPTER II. THE PLEDGE REDEEMED

The novel opens with a precise historical marker—the second year of Elizabeth's reign and the Act of Supremacy—but immediately narrows to the career of Mr Robert Angell, Vicar of Clapham. He is described as a 'worthy but weak divine' who conforms to the Act insincerely, fearing loss of his living, and is soon deprived of his benefice. This sets a pattern: characters operate under pressure, their outward compliance masking inner dissent. Angell turns to running a private school, teaching Lily's grammar and the Sententiæ Pueriles, a detail that roots the story in Elizabethan educational practice. Into this household comes Brion Middleton, a stranger brought as a child. The narrative thus begins not with grand adventure but with a quiet, compromised domestic scene—a vicarage where love and weakness coexist.

A Divided Clergy and a Schoolroom

The opening chapter establishes a world where religious conformity is a public performance. Mr Angell is one of many clergy who 'conformed, did so without sincerity,' and the text notes that only about two hundred clergy dissented openly from the Act of Supremacy. This tension between outward obedience and inward loyalty recurs throughout the excerpts. Angell's school, or 'palestra,' teaches a traditional curriculum—Lily's grammar, Erasmus's Colloquies, Caesar, and the Georgics—but his rule is 'by love without much authority,' a method at odds with the 'harsh methods which obtained' in the period. The household is described as chaotic: his wife is 'a stupid woman but as benevolent as himself,' and the children 'tumbled up anyhow.' Into this disorder comes Brion Middleton, a foundling of sorts, brought by a Mr Justi. The schoolroom becomes a microcosm of the larger religious and social pressures of Elizabethan England.

London's Labyrinth and the Weight of the Past

When Brion returns to London eight years later, the city is rendered as a 'labyrinthine mystery' full of 'dashing merriment' and 'fierce and palpitating life.' The prose shifts into a more sensory, almost kaleidoscopic mode: streets are 'like a turning kaleidoscope,' with 'colours and patterns perpetually changing.' Yet the city also bears grim reminders of mortality. At the bar-gate into the City, Brion sees 'dried and blackened heads' on spikes, 'like a grotesque sort of cocoanuts.' One head 'seemed to leer at Brion' and another 'appeared to be watching a flight of rooks.' These memento mori intrude on the 'feast of colour,' creating a stark contrast between vitality and death. Brion's perception of London is filtered through his longing for Joan, whom he imagines as a 'golden shrine' hidden somewhere in the city. The narrative thus intertwines personal desire with the city's public spectacle and violence.

Recurring Motifs: Travel, Taverns, and Transformation

Brion's journey is marked by specific, recurring locations. The Cock tavern in Westminster, where he stays on his first night westward, becomes his London base. He returns there in Chapter XIX, noting a 'tenderness of association' that inclines him to the place. The tavern is 'well-served' and in a 'good locality,' but its significance is emotional rather than practical. Similarly, the road from the Grange to London is retraced: Brion had 'lolled along it, a weary boy, eight years ago,' but now rides with 'different feelings,' his heart singing. These returns to familiar places highlight his transformation from a weary boy to a young man in love. The text also emphasizes the role of companions: Clerivault, the 'paragon' and 'experienced Londoner,' guides Brion through the city, while the Captain, a friend in the Queen's Guard, provides access to court. These relationships anchor Brion in a network of loyalty and mentorship.

Readers attentive to the novel's opening will notice how the religious tensions of the first chapter echo in later scenes: the Act of Supremacy, the deprived vicar, and the schoolroom of 'love without much authority' all inform Brion's character and the world he moves through. The excerpts offer only fragments of the full plot, but they consistently pair historical specificity with personal emotion. Pay attention to how Capes uses setting—the vicarage, the tavern, the London streets—to mirror inner states. The dried heads on spikes, the 'luminous mist' of expectation, and the 'kaleidoscope' of the city all reward close reading.

Reading about Brion’s cramped vicarage school, I remembered my own drafty dormitory and the priest who rationed our bread. That ache of hidden longing returned. Where England sets her feet holds it gently, much like that quiet evening I spent with An altruist — A Closer Reading, where charity felt less like virtue and more like a bruised, kept secret.

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