In Kedar's Tents — Reading Companion

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Merriman, Henry Seton, 1862-1903 Project Gutenberg 2004 Not confirmed
Spain -- History -- Carlist War, 1833-1840 -- Fiction Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 75,856
Reading time 330 min
Text sections 8

In Kedar's Tents — Reading Companion can be approached with a clearer sense of reading commitment from its source measurements: 75,856 words, 5 hr 30 min estimated reading time, and 8 detected text sections.

The text analysis averages about 16.5 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 “Spain -- History -- Carlist War, 1833-1840 -- Fiction,” connecting these edition facts with the source record’s subject description.

Merriman's novel opens with a Chartist meeting in 1838 England, then shifts to Spain's Carlist War. The excerpts reveal a cynical legal mind, a revenge plot, and a love story unfolding amid political turmoil, with a focus on character psychology and moral ambiguity.
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Editorial Edition Score 4.7/5

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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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een a great meeting at Chester-le-Street of those who were at this time beginning to be known as Chartists, and, the Act having been lately passed that torchlight meetings were illegal, this assembly had gathered by the light of a waning moon long since hidden by the clouds. Amid the storm of wind and rain, orators had expounded views as wild as the night itself, to which the hard-visaged sons of Northumbria had listened with grunts of approval or muttered words of discontent. A dangerous game to play—this stirring up of the people’s heart, and one that may at any moment turn to the deepest earnest.

Few thought at this time that the movement awakening in the working centres of the North and Midlands was destined to spread with the strange rapidity of popular passion—to spread and live for a decade. Few of the Chartists expected to see the fulfilment of half of their desires. Yet, to-day, a moiety of the People’s Charter has been granted. These voices crying in the night demanded an extended suffrage, vote by ballot, and freedom for rich and poor alike to sit in Parliament. Within the scope of one reign these demands have been granted.

The meeting at Chester-le-Street was no different from a hundred others held in England at the same time. It was illegal, and yet the authorities dared not to pronounce it so. It might prove dangerous to those taking part in it. Lawyers said that the leaders laid themselves open to the charge of high treason. In this assembly as in others there were wirepullers—men playing their own game, and from the safety of the rear pushing on those in front. With one of these we have to do. With his mistake Fate raised the curtain, and on the horizon of several lives arose a cloud no bigger than a man’s hand.

Geoffrey Horner lived before his time, insomuch as he was a gentleman-Radical. He was clever, and the world heeded not. He was brilliant, well educated, capable of great achievements, and the world refused to be astonished. Here were the makings of a malcontent. A well-born Radical is one whom the world has refused to accept at his own valuation. A wise man is ready to strike a bargain with Fate. The wisest are those who ask much and then take half. It is the coward who asks too little, and the fool who imagines that he will receive without demanding.

Horner had thrown in his lot with the Chartists in that spirit of pique which makes a man marry the wrong woman because the right one will have none of him. At the Chester-le-Street meeting he had declared himself an upholder of moral persuasion, while in his heart he pandered to those who knew only of physical force and placed their reliance thereon. He had come from Durham with a contingent of malcontents, and was now returning thither on foot in company with the local leaders. These were intelligent mechanics seeking clumsily and blindly enough what they knew to be the good of their fellows. At their heels tramped the rank and file of the great movement. The assembly was a subtle foreshadowing of things to come—of Newport and the march of twenty thousand men, of violence and bloodshed, of strife between brethren, and of justice nonplussed and hesitating.

The toil-worn miners were mostly silent, their dimly enlightened intellects uneasily stirred by the words they had lately heard—their stubborn hearts full of a great hope with a minute misgiving at the back of it. With this dangerous material Geoffrey Horner proposed to play his game.

Suddenly a voice was raised.

‘Mates,’ it cried, at the cross-roads, ‘let’s go and smash Pleydell’s windows!’

And a muttered acquiescence to the proposal swept through the moving mass like a sullen breeze through reeds.

The desire for action rustled among these men of few words and mighty arms.

Horner hurriedly consulted his colleagues. Was it wise to attempt to exert an authority which was merely nominal? The principles of Chartism were at this time to keep within the limits of the law, and yet to hint, when such a course was safe, that stronger measures lay behind mere words. Their fatal habit was to strike softly.

In peace and war, at home and abroad, there is but one humane and safe rule: Hesitate to strike—strike hard.

Sir John Pleydell was a member of that Parliament which had treated the Charter with contempt. He was one of those who had voted with the majority against the measures it embodied.

The novel begins not in Spain, but on a rain-swept road in Northumberland, where a Chartist torchlight meeting has just ended. The narrator immediately establishes a tone of ironic fatalism, comparing fate to a stage manager who casts the wrong actors in a tragedy. This opening scene introduces Sir John Pleydell, a former barrister who coldly recounts how he used the Newport riots to secure a long prison sentence for the man who killed his son. His marble-faced, cynical frankness sets a moral tone that will likely shadow the rest of the story.

The excerpts then jump to Spain during the Carlist War, where the Englishman Conyngham appears to be attached to General Espartero's staff. Estella, a woman who has spent her life amid warfare, watches Conyngham's reaction to Sir John's tale with sharp attention, recognizing a dangerous smile. The shift from English legal maneuvering to Spanish battlefields suggests a narrative that intertwines personal revenge with larger political conflicts.

Fate as Stage Manager

The opening chapter, titled “One Soweth,” begins with a meditation on fate’s theatricality. The narrator asserts that fate “rings up the curtain and starts a tragedy on a scene that has obviously been set by the carpenter for a farce.” This metaphor recurs in the description of the Chartist meeting, which is held illegally by torchlight under a waning moon. The setting is deliberately incongruous: a bleak, iron-hard land where the pursuit of wealth has hardened men’s souls. The narrator’s voice is detached and philosophical, commenting on the danger of stirring up the people’s heart. This framing invites the reader to watch for similar ironies in the Spanish episodes—where a love story or a comedy of manners may suddenly turn deadly.

The Lawyer’s Revenge

Sir John Pleydell dominates the early excerpts with a chilling monologue. He describes how he traced his son’s killer to Gibraltar, but only acted when he could ensure a sentence of sixteen to twenty years’ penal servitude. His language is legalistic: he speaks of “making a point” and “establishing” arguments, as if cross-examining a witness. The other characters react with discomfort: the General mutters a Spanish oath, Estella’s face grows cold, and Conyngham listens with a “queer smile.” Sir John’s cynicism is presented as a product of his years at the Common Law Bar, where men learn to dissect mental diseases. This portrait of a man who values legal victory over justice sets up a central conflict—one that may play out in the Spanish setting, where law and war operate differently.

Eyes and Silences

Merriman conveys tension through small physical details. When Sir John speaks, Estella’s eyes turn toward Conyngham; she draws a sharp breath when she sees his smile. The General studies the texture of his pocket-handkerchief. These gestures suggest unspoken alliances and judgments. The narrator notes that Estella had seen men in danger before and “perhaps recognised that smile.” Such observations hint at a backstory of violence and survival. The reader is left to infer the nature of Conyngham’s attachment to Espartero’s staff and the history between Estella and Conyngham. The excerpts do not reveal their relationship, but the charged silences imply a romantic or political bond that will be tested.

Two Wars, One Story

The catalog lists the novel as historical fiction set during Spain’s Carlist War (1833–1840), but the excerpts begin with the Chartist movement in England (1838–1848). Sir John’s pursuit of his son’s killer crosses from English legal channels to the Spanish conflict, where Conyngham serves on Espartero’s staff. The Newport riots of 1839 are mentioned as a turning point. This dual setting allows Merriman to compare two kinds of civil strife: industrial unrest in the North of England and the dynastic war in Spain. The reader should watch for how the personal revenge plot intersects with the larger political upheavals. The excerpts do not reveal whether Sir John succeeds, but the title’s biblical allusion (Psalm 120:5) suggests a sojourn among hostile strangers.

As you read, pay attention to the narrator’s asides about fate and human nature—they often undercut the characters’ own certainties. The early chapters establish a pattern of ironic reversals: a farcical setting for a tragedy, a legal mind pursuing revenge, a love story set against war. The excerpts leave many questions unanswered, particularly about Conyngham’s mission and Estella’s role. Trust the narrator’s dry observations and the characters’ silences more than their words. The novel rewards careful attention to its moral ambiguities.

Sometimes a book lingers less for its plot than for its moral fog. Reading about Merriman’s embittered lawyer chasing revenge through Spain, I found myself thinking of that other story where ambition tangles with honor along a different coast. Both share that quiet ache of choices half-regretted. The Trail of the Sword, Volume 3 — Reading Companion felt like a familiar shadow in that same grey light.

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