St. George for England — Reading Notes

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Henty, G. A. (George Alfred), 1832-1902 Project Gutenberg 2002 Not confirmed
Great Britain -- History -- Edward III, 1327-1377 -- Fiction Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 103,665
Reading time 451 min
Text sections 12

St. George for England — Reading Notes can be approached with a clearer sense of reading commitment from its source measurements: 103,665 words, 7 hr 31 min estimated reading time, and 12 detected text sections.

The text analysis averages about 26.1 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 -- Edward III, 1327-1377 -- Fiction,” connecting these edition facts with the source record’s subject description.

G. A. Henty's historical novel follows a young Englishman through the campaigns of Edward III, from the siege of Hennebon to the battles of Cressy and Poitiers, drawing on Froissart and contemporary chronicles. The narrative intertwines personal adventure with the political maneuvering of figures like Jacob van Artevelde and the Black Prince.
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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

zing brightly now. The woman drank the steaming beverage which her host brought with him. The colour came faintly again into her cheeks.

“I thank you, indeed,” she said, “for your kindness. Had you not taken me in I think I would have died at your door, for indeed I could go no further; and though I hold not to life, yet would I fain live until I have delivered my boy into the hands of those who will be kind to him, and this will, I trust, be tomorrow.”

“Say nought about it,” Geoffrey answered; “Madge and I are right glad to have been of service to you. It would be a poor world indeed if one could not give a corner of one's fireside to a fellow-creature on such a night as this, especially when that fellow creature is a woman with a child. Poor little chap! He looks right well and sturdy, and seems to have taken no ill from his journey.”

“Truly, he is well and sturdy,” the mother said, looking at him proudly; “indeed I have been almost wishing today that he were lighter by a few pounds, for in truth I am not used to carry him far, and his weight has sorely tried me. His name is Walter, and I trust,” she added, looking at the powerful figure of her host, “that he will grow up as straight and as stalwart as yourself.” The child, who was about three years old, was indeed an exceedingly fine little fellow, as he sat, in one scanty garment, in his mother's lap, gazing with round eyes at the blazing fire; and the smith thought how pretty a picture the child and mother made. She was a fair, gentle-looking girl some two-and-twenty years old, and it was easy enough to see now from her delicate features and soft shapely hands that she had never been accustomed to toil.

“And now,” the smith said, “I will e'en say good night. The hour is late, and I shall be having the watch coming along to know why I keep a fire so long after the curfew. Should you be a stranger in the city, I will gladly act as your guide in the morning to the friends whom you seek, that is, should they be known to me; but if not, we shall doubtless find them without difficulty.”

So saying, the smith retired to his bed of rushes in the smithy, and soon afterwards the tired visitor, with her baby, lay down on the rushes in front of the fire, for in those days none of the working or artisan class used beds, which were not indeed, for centuries afterwards, in usage by the common people.

In the morning Geoffrey Ward found that his guest desired to find one Giles Fletcher, a maker of bows.

“I know him well,” the smith said. “There are many who do a larger business, and hold their heads higher; but Giles Fletcher is well esteemed as a good workman, whose wares can be depended upon. It is often said of him that did he take less pains he would thrive more; but he handles each bow that he makes as if he loved it, and finishes and polishes each with his own hand. Therefore he doeth not so much trade as those who are less particular with their wares, for he hath to charge a high price to be able to live. But none who have ever bought his bows have regretted the silver which they cost. Many and many a gross of arrowheads have I sold him, and he is well-nigh as particular in their make as he is over the spring and temper of his own bows. Many a friendly wrangle have I had with him over their weight and finish, and it is not many who find fault with my handiwork, though I say it myself; and now, madam, I am at your service.”

G. A. Henty opens St. George for England with a preface that directly addresses his young readers, defending the moral value of tales of war. He argues that courage is the parent of nearly all virtues and that the empire built by England's forefathers may be lost by the cowardice of their descendants. The novel then begins on a bitterly cold November night in 1330, with a woman carrying a child into Southwark—a stark, personal entry point into a story that will soon expand to the grand stage of the Hundred Years' War.

A Preface That Frames the Action

Henty's preface is not a mere formality; it is a compact statement of the author's didactic purpose. He directly tells his readers that war has lessons as well as peace, and that true courage is accompanied by magnanimity and gentleness. This framing shapes how the subsequent battles and political intrigues are presented: not as mere spectacle, but as demonstrations of character. The preface also cites Froissart and other contemporary historians as sources, signaling Henty's commitment to historical accuracy—at least as collated by Mr. James. Readers should note that the novel's moral stance is established before the first chapter begins.

The Mechanics of Power in Flanders

The excerpts reveal a detailed interest in the political processes of the Flemish towns. When Jacob van Artevelde proposes that the Prince of Wales become their lord, the burgher councils do not immediately agree; they insist on consulting their fellow countrymen. Henty shows the friction between Artevelde's eloquence and the burghers' desire to preserve their own powers. The narrative follows the diplomatic efforts in Bruges, Ypres, and finally Ghent, where opposition is strongest. This section of the novel functions almost as a political case study, illustrating how alliances were negotiated and how popular sentiment could shift against a leader.

The Role of the Esquire as Witness

Walter, the young protagonist, is positioned as an observer within the inner circles of power. When Van Artevelde requests a guard of five hundred English soldiers, it is Walter who carries the message to the king. Later, he rides beside Artevelde into Ghent, where the hostile reception becomes apparent. Henty uses Walter's perspective to give the reader a ground-level view of historical events. The esquire is described as prudent and wise, and his presence is meant to show the people the prince's support for Artevelde. This narrative device allows Henty to blend personal adventure with the larger political drama.

Readers approaching St. George for England should attend to the interplay between Henty's moral framework and his historical detail. The novel is as much about the virtues of courage and loyalty as it is about the campaigns of Edward III. The excerpts show a careful attention to the mechanics of medieval politics, from town councils to military logistics. The story rewards those who read for both action and the underlying lessons Henty explicitly sets out to teach.

That rainy afternoon, I lingered over St. George for England, tracing the Black Prince’s mud-soaked marches through Froissart’s old chronicles. The siege dust and clatter faded, leaving a quiet ache for somewhere softer. My gaze drifted sideways on the shelf, landing instead on Peach Blossom Shangri-la: Tao Hua Yuan Ji — Story, Setting & Ideas, and I imagined the same man, weary, stumbling into a hidden valley of peach blossoms, finally dropping his sword.

Victoria Nguyen
3 weeks ago

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