Hereward, the Last of the English — Text and Context

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Kingsley, Charles, 1819-1875 Project Gutenberg 2005 Not confirmed
Great Britain -- History -- To 1066 -- Fiction Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 171,458
Reading time 746 min
Text sections 20

The source record for Hereward, the Last of the English — Text and Context measures this digital text at 171,458 words, 12 hr 26 min estimated reading time, and 20 detected text sections.

The text analysis averages about 17.9 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 “Great Britain -- History -- To 1066 -- Fiction,” connecting these edition facts with the source record’s subject description.

Charles Kingsley's historical novel follows Hereward's outlawry, adventures abroad, and resistance against Norman rule. The narrative shifts between chivalric romance, brutal realism, and moral commentary, with a distinctive voice that blends archaic English, direct address, and vivid fenland description.
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Editorial Edition Score 4.9/5

Calculated from edition completeness, EPUB availability, text structure and catalogue metadata. Not a user rating.

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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

I. HOW HEREWARD WAS OUTLAWED, AND WENT NORTH TO SEEK HIS FORTUNES

II. HOW HEREWARD SLEW THE BEAR

III. HOW HEREWARD SUCCORED A PRINCESS OF CORNWALL

IV. HOW HEREWARD TOOK SERVICE WITH RANALD, KING OF WATERFORD

V. HOW HEREWARD SUCCORED THE PRINCESS OF CORNWALL A SECOND TIME

VI. HOW HEREWARD WAS WRECKED UPON THE FLANDERS SHORE

VII. HOW HEREWARD WENT TO THE WAR AT GUISNES

VIII. HOW A FAIR LADY EXERCISED THE MECHANICAL ART TO WIN HEREWARD’S LOVE

IX. HOW HEREWARD WENT TO THE WAR IN SCALDMARILAND

X. HOW HEREWARD WON THE MAGIC ARMOR

XI. HOW THE HOLLANDERS TOOK HEREWARD FOR A MAGICIAN

XII. HOW HEREWARD TURNED BERSERK

XIII. HOW HEREWARD WON MARE SWALLOW

XIV. HOW HEREWARD RODE INTO BRUGES LIKE A BEGGAR-MAN

XV. HOW EARL TOSTI GODWINSSON CAME TO ST. OMER

XVI. HOW HEREWARD WAS ASKED TO SLAY AN OLD COMRADE

XVII. HOW HEREWARD TOOK THE NEWS FROM STANFORD BRIGG AND HASTINGS

XVIII. HOW EARL GODWIN’S WIDOW CAME TO ST. OMER

XIX. HOW HEREWARD CLEARED BOURNE OF FRENCHMEN

XX. HOW HEREWARD WAS MADE A KNIGHT AFTER THE FASHION OF THE ENGLISH

XXI. HOW IVO TAILLEBOIS MARCHED OUT OF SPALDING TOWN

XXII. HOW HEREWARD SAILED FOR ENGLAND ONCE AND FOR ALL

XXIII. HOW HEREWARD GATHERED AN ARMY

XXIV. HOW ARCHBISHOP ALDRED DIED OF SORROW

XXV. HOW HEREWARD FOUND A WISER MAN IN ENGLAND THAN HIMSELF

XXVI. HOW HEREWARD FULFILLED HIS WORDS TO THE PRIOR OF THE GOLDEN BOROUGH

XXVII. HOW THEY HELD A GREAT MEETING IN THE HALL OF ELY

XXVIII. HOW THEY FOUGHT AT ALDRETH

XXIX. HOW SIR DADE BROUGHT NEWS FROM ELY

XXX. HOW HEREWARD PLAYED THE POTTER; AND HOW HE CHEATED THE KING

XXXI. HOW THEY FOUGHT AGAIN AT ALDRETH

XXXII. HOW KING WILLIAM TOOK COUNSEL OF A CHURCHMAN

XXXIII. HOW THE MONKS OF ELY DID AFTER THEIR KIND

XXXIV. HOW HEREWARD WENT TO THE GREENWOOD

XXXV. HOW ABBOT THOROLD WAS PUT TO RANSOM

XXXVI. HOW ALFTRUDA WROTE TO HEREWARD

XXXVII. HOW HEREWARD LOST SWORD BRAIN-BITER

XXXVIII. HOW HEREWARD CAME IN TO THE KING

XXXIX. HOW TORFRIDA CONFESSED THAT SHE HAD BEEN INSPIRED BY THE DEVIL

XL. HOW HEREWARD BEGAN TO GET HIS SOUL’S PRICE

XLI. HOW EARL WALTHEOF WAS MADE A SAINT

XLII. HOW HEREWARD GOT THE BEST OF HIS SOUL’S PRICE

XLIII. HOW DEEPING FEN WAS DRAINED

HEREWARD, THE LAST OF THE ENGLISH.

The heroic deeds of Highlanders, both in these islands and elsewhere, have been told in verse and prose, and not more often, nor more loudly, than they deserve. But we must remember, now and then, that there have been heroes likewise in the lowland and in the fen. Why, however, poets have so seldom sung of them; why no historian, save Mr. Motley in his “Rise of the Dutch Republic,” has condescended to tell the tale of their doughty deeds, is a question not difficult to answer.

In the first place, they have been fewer in number. The lowlands of the world, being the richest spots, have been generally the soonest conquered, the soonest civilized, and therefore the soonest taken out of the sphere of romance and wild adventure, into that of order and law, hard work and common sense, as well as--too often--into the sphere of slavery, cowardice, luxury, and ignoble greed. The lowland populations, for the same reasons, have been generally the first to deteriorate, though not on account of the vices of civilization. The vices of incivilization are far worse, and far more destructive of human life; and it is just because they are so, that rude tribes deteriorate physically less than polished nations. In the savage struggle for life, none but the strongest, healthiest, cunningest, have a chance of living, prospering, and propagating their race. In the civilized state, on the contrary, the weakliest and the silliest, protected by law, religion, and humanity, have chance likewise, and transmit to their offspring their own weakliness or silliness. In these islands, for instance, at the time of the Norman Conquest, the average of man was doubtless superior, both in body and mind, to the average of man now, simply because the weaklings could not have lived at all; and the rich and delicate beauty, in which the women of the Eastern Counties still surpass all other races in these isles, was doubtless far more common in proportion to the numbers of the population.

From its opening chapters, Kingsley's narrative voice oscillates between the high-flown rhetoric of romance and a blunt, almost colloquial directness. The chapter headings—each beginning "How Hereward..."—signal a episodic, adventure-driven structure, yet the prose within often undercuts heroic expectation with wry observation or sudden violence. The excerpt from Chapter XXI, for instance, shifts from Ivo Taillebois's cynical interior monologue to a hanging scene rendered with stark economy: "a man was being hanged on the gallows there permanently provided." This juxtaposition of political calculation and casual brutality is characteristic of Kingsley's method.

Voice and Register

Kingsley's narrator adopts a knowing, sometimes sardonic tone that distances the reader from easy sympathy. Ivo's thoughts are given in direct, unmediated speech: "I must put a spoke in Edwin's wheel." The narrator's own interjections—"and Ivo Taillebois kept his word; and without difficulty"—create a dry, almost legalistic commentary. At the same time, the prose can rise to biblical cadence, as when the priest mutters "The bloodthirsty and deceitful man shall not live out half his days." This register switching is a deliberate technique: the high style lends gravity to moments of moral crisis, while the colloquial undercuts Norman pretension. The effect is a narrative voice that feels both engaged and detached, as though reporting events from a great distance.

Pace and Scene Construction

The excerpt demonstrates Kingsley's control of pace through sentence length and detail. Ivo's soliloquy moves in short, pragmatic clauses: "We must have a rebellion in these parts." The hanging scene then slows, with the priest's intervention described in a series of quick actions—"ran forward, and almost thrown himself under the horse's feet." Kingsley often builds tension through physical detail: the crowd "crouching in terror," the hangman's yell, the "long lean figure flying through the air." These moments of sudden, almost cinematic action contrast with the longer, more ruminative passages of political scheming. The result is a rhythm that alternates between deliberation and eruption, mirroring the volatility of the post-Conquest world.

Setting as Character

The fenland setting is not merely backdrop but an active element in the narrative's language and pace. Kingsley's description of the landscape is often compressed into a single vivid image: "the mere was his, and his father's before him." The fen is a place of boundaries—ditches, meres, gallows—that are constantly crossed or contested. The chase scene ends with the fugitive "flying through the air seven feet aloft" over a ditch, a moment that literalizes the fen's role as both obstacle and refuge. This physical geography shapes the story's rhythm: the narrative moves from enclosed spaces (Ivo's thoughts, the crowd) to open, treacherous terrain, and back again. Kingsley uses the fen to create a sense of precariousness, where every step might be the last.

Readers attentive to Kingsley's narrative voice will notice how he uses the chapter titles—each a promise of action—to create expectation that the prose often subverts. The novel rewards those who attend to its shifts in register, its sudden silences, and its careful management of pace. The fenland itself becomes a kind of language, its ditches and meres marking the boundaries of a world where survival depends on reading both landscape and motive.

Flicking through Hereward, I lingered on that strange mix of old words and sudden, sharp feeling — the fenland mist and the quiet weight of lost causes. It made me think of another old romance, the same sense of secrets held close behind formal walls. I recalled The Star-Chamber: An Historical Romance, Volume 2 — Edition Insights, and how both books carry that ache of a world changing too fast for the people inside it.

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    Tony Heath - 1 month ago
    A stirring historical novel that brings the last great English rebel to life with vivid battle scenes and rich period detail. The author's deep knowledge of the era shines through, making Hereward's struggle against the Normans both thrilling and poignant. A must-read for fans of medieval history and heroic fiction.

  • ...
    April Rivera - 4 weeks ago
    Despite the promising subject, the novel struggles with wooden dialogue and a plodding plot that fails to engage. The character development is shallow, and the battles, though frequent, lack tension. For a legendary figure like Hereward, this treatment feels disappointingly flat and lacks the epic quality one would expect.

  • ...
    Jessica Laurie Hammond - 1 week ago
    The book offers a compelling portrayal of Hereward the Wake and his resistance against the Normans, with well-researched historical context. However, the pacing can be uneven, and some sections felt overly detailed, which might deter readers looking for a faster narrative. Still, it's a solid choice for history buffs.


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