Coniston — Complete — Story, Setting & Ideas
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This digital edition of Coniston — Complete — Story, Setting & Ideas is described by source-level measurements including 174,791 words, 12 hr 40 min estimated reading time, and 20 detected text sections.
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Project Gutenberg metadata also associates the work with “New England -- Fiction,” connecting these edition facts with the source record’s subject description.
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Read the Text
ynthia lingered, picking flowers from the bunch.
“What did you mean by 'fox and geese' Jock?” she said presently.
Jock laughed. He did not belong to the Establishment, but was a Universalist; politically he admired General Jackson. “What'd you say if Jethro was Chairman of the next Board of Selectmen?” he demanded.
No wonder Cynthia gasped. Jethro Bass, Chairman of the Board, in the honored seat of Deacon Moses Hatch, the perquisite of the church in Coniston! The idea was heresy. As a matter of fact, Jock himself uttered it as a playful exaggeration. Certain nonconformist farmers, of whom there were not a few in the town, had come into Jonah Winch's store that morning; and Jabez Miller, who lived on the north slope, had taken away the breath of the orthodox by suggesting that Jethro Bass be nominated for town office. Jock Hallowell had paused once or twice on his work on the steeple to look across the tree-tops at Coniston shouldering the sky. He had been putting two and two together, and now he was merely making five out of it, instead of four. He remembered that Jethro Bass had for some years been journeying through the town, baying his hides and wool, and collecting the interest on his mortgages.
Cynthia would have liked to reprove Jock Hallowell, and tell him there were some subjects which should not be joked about. Jethro Bass, Chairman of the Board of Selectmen!
“Well, here comes, young Moses, I do believe,” said Jock, gathering his pegs into his apron and preparing to ascend once more. “Callated he'd spring up pretty soon.”
“Jock, you do talk foolishly for a man who is able to build a church,” said Cynthia, as she walked away. The young Moses referred to was Moses Hatch, Junior, son of the pillar of the Church and State, and it was an open secret that he was madly in love with Cynthia. Let it be said of him that he was a steady-going young man, and that he sighed for the moon.
“Moses,” said the girl, when they came in sight of the elms that, shaded the gable of the parsonage, “what do you think of Jethro Bass?”
“Jethro Bass!” exclaimed honest Moses, “whatever put him into your head, Cynthy?” Had she mentioned perhaps, any other young man in Coniston, Moses would have been eaten with jealousy.
“Oh, Jock was joking about him. What do you think of him?”
“Never thought one way or t'other,” he answered. “Jethro never had much to do with the boys. He's always in that tannery, or out buyin' of hides. He does make a sharp bargain when he buys a hide. We always goes shares on our'n.”
Cynthia was not only the minister's daughter,--distinction enough,--her reputation for learning was spread through the country roundabout, and at the age of twenty she had had an offer to teach school in Harwich. Once a week in summer she went to Brampton, to the Social library there, and sat at the feet of that Miss Lucretia Penniman of whom Brampton has ever been so proud--Lucretia Penniman, one of the first to sound the clarion note for the intellectual independence of American women; who wrote the “Hymn to Coniston”; who, to the awe of her townspeople, went out into the great world and became editress of a famous woman's journal, and knew Longfellow and Hawthorne and Bryant. Miss Lucretia it was who started the Brampton Social Library, and filled it with such books as both sexes might read with profit. Never was there a stricter index than hers. Cynthia, Miss Lucretia loved, and the training of that mind was the pleasantest task of her life.
The narrator of Coniston announces a love story that will end unhappily within a few chapters, then promises a longer one later—a structural gambit that foregrounds the novel's dual nature. The opening pages situate the tale in the aftermath of Andrew Jackson's presidency, an era the narrator dubs the 'Boss-Era,' when clever men exploited constitutional chinks to seize power. This political framing is immediately grounded in a vivid landscape: Coniston Mountain, Coniston Water, and the mill town of Brampton. The narrator's voice is wry and self-conscious, warning readers not to throw the book away after the first disappointment.
The Narrator's Double Game
The first chapter's narrator is an unusual presence: he addresses the reader directly, forecasts an unhappy ending, and then hedges by hinting at a second love story. This meta-fictional trick does more than tease—it establishes a pattern of indirection that permeates the novel's politics. The narrator calls the era the 'Boss-Era' and later mentions 'Things without souls' that steal chestnuts through bigger constitutional chinks. Yet he also insists he is 'getting far ahead' of his love story. The effect is a deliberate tension between the personal and the political, as if the narrator himself is torn between romance and satire.
Cynthia Wetherell Under Scrutiny
In the excerpt from a later chapter, Cynthia Wetherell is introduced at a social gathering through the eyes of several powerful figures. Mrs. Duncan, who 'knew and cared nothing about politics,' dismisses her as 'a country girl.' The Honorable Heth Sutton, a congressman, identifies her as 'the ward of our friend Jethro' and adds, 'A good girl, I believe, in spite of the atmosphere in which she has been raised.' The dialogue reveals a network of political alliances and suspicions: Mr. Duncan recalls a scandal called the 'Woodchuck Session,' and Mr. Worthington is in a good humor despite having 'clipped' Jethro's wings. Cynthia herself says nothing in this passage; she is observed, categorized, and discussed as a potential liability or asset.
Political Maneuvering Through Personal Relations
The social scene functions as a microcosm of the novel's political machinery. Characters assess Cynthia not as an individual but as a connection to Jethro, a political opponent. Mr. Sutton's remark that she is 'more dangerous than Jethro, now that we've clipped his wings a little' suggests that personal relationships are weapons. Mrs. Duncan, though apolitical, uses her social status to probe Sutton for information. The dialogue is layered with subtext: when Sutton explains Cynthia's origin, he simultaneously asserts his own knowledge and dismisses her. The narrator's earlier warning about the 'Boss-Era' resonates here, as personal encounters become arenas for indirect power struggles.
Readers should attend to the narrator's shifting tone—sometimes sardonic, sometimes sentimental—as a guide to the novel's dual focus on romance and political corruption. The excerpts offer only glimpses of Cynthia's inner life; her silence in the social scene may be strategic or imposed. The 'Woodchuck Session' and the rivalry between Jethro and Worthington are alluded to but not explained, inviting patience as the narrative unfolds.
There’s a particular ache in how Churchill warns us early on that love won’t end well, and then spends the whole book watching characters trade that ache for ambition. It reminded me of Holmes’s quieter table talks, where the same trade sits unspoken. His The Poet at the Breakfast-Table — Inside the Classic feels like a long exhale after that kind of bargaining. I keep thinking about Cynthia, and how some stories just leave you holding that.
Owen Rivera
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