The Little Lady of Lagunitas: A Franco-Californian Romance — Reading Companion

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Savage, Richard, 1846-1903 Project Gutenberg 2004 Not confirmed
California -- Fiction Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 126,149
Reading time 549 min
Text sections 13

The Little Lady of Lagunitas: A Franco-Californian Romance — Reading Companion can be approached with a clearer sense of reading commitment from its source measurements: 126,149 words, 9 hr 9 min estimated reading time, and 13 detected text sections.

The text analysis averages about 12.1 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 “California -- Fiction,” connecting these edition facts with the source record’s subject description.

An editorial note on Richard Savage's 1903 novel, examining how its catalog subject 'California -- Fiction' aligns with the text's focus on Civil War battles, Confederate politics, and a French-Californian romance, rather than local color or landscape.
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Editorial Edition Score 4.8/5

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  • Title & short description10 pts
  • Source metadata20 pts
  • Text length15 pts
  • Chapters / structure15 pts
  • EPUB file integrity20 pts

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UNDER THE MEXICAN EAGLE.--EXIT THE FOREIGNER.--MONTEREY, 1840.

"Caramba! Adios, Seflores!" cried Captain Miguel Peralta, sitting on his roan charger on the Monterey bluffs. A white-sailed bark is heading southward for Acapulco. His vaqueros tossed up their sombreros, shouting, "Vive Alvarado! Muerte los estrangeros!"

The Pacific binds the hills of California in a sapphire zone, unflecked by a single sail in sight, save the retreating trader, which is flitting around "Punta de los Pinos."

It is July, 1840. The Mexican ensign flutters in the plaza of Monterey, the capital of Alta California.

Miguel Peralta dismounts and crosses himself, murmuring, "Sea por Dios y la Santissima Virgen."

His duty is done. He has verified the departure of the Yankee ship. It is crowded with a hundred aliens. They are now exiles.

Gathered in by General Vallejo, the "pernicious foreigners" have been held at Monterey, until a "hide drogher" comes into the port. Alvarado permits her to anchor under the guns of the hill battery. He then seizes the ship for his use.

Captain Peralta is given the honor of casting out these Ishmaels of fortune. He views calmly their exit. It is a land which welcomes not the "Gringo." The ship-master receives a draft on Acapulco for his impressed service. These pioneer argonauts are warned (on pain of death) not to return. It is a day of "fiesta" in Monterey. "Vive Alvarado!" is the toast.

So, when Captain Miguel dashes into the Plaza, surrounded with his dare-devil retainers, reporting that the vessel is off shore, the rejoicing is unbounded.

Cannons roar: the yells of the green jacket and yellow scrape brigade rise on the silent reaches of the Punta de los Pinos. A procession winds up to the Carmel Mission. Governor Alvarado, his staff, the leading citizens, the highest families, and the sefioritas attend a mass of thanksgiving. Attired in light muslins, with here and there a bright-colored shawl giving a fleck of color, and silk kerchiefs--fleecy--the ladies' only other ornaments are the native flowers which glitter on the slopes of Monterey Bay. Bevies of dark-eyed girls steal glances at Andres, Ramon, or Jose, while music lends a hallowing charm to the holy father's voice as he bends before the decorated altar. Crowds of mission Indians fill the picturesque church. Every heart is proud. Below their feet sleeps serenely good Fray "Junipero Serra." He blessed this spot in 1770;--a man of peace, he hung the bells on the green oaks in a peaceful wilderness. High in air, to-day they joyously peal out a "Laus Deo." When the mystery of the mass rehearses the awful sacrifice of Him who died for us all, a silence broods over the worshippers. The notes of the choristers' voices slowly die away. The population leaves the church in gay disorder.

The Bells of the Past throw their spells over the mossy church--at once triumph, tomb, and monument of Padre Junipero. Scattered over the coast of California, the padres now sleep in the Lethe of death. Fathers Kino, Salvatierra, Ugarte, and sainted Serra left their beautiful works of mercy from San Diego to Sonoma. With their companions, neither unknown tribes, lonely coasts, dangers by land and sea, the burning deserts of the Colorado, nor Indian menaces, prevented the linking together of these outposts of peaceful Christianity. The chain of missions across New Mexico and Texas and the Mexican religious houses stretches through bloody Arizona. A golden circlet!

Happy California! The cross here preceded the sword. No blood stains the Easter lilies of the sacrifice. The Dons and Donnas greet each other in stately fashion, as the gathering disperses. Governor Alvarado gives a feast to the notables. The old families are all represented at the board. Picos, Peraltas, Sanchez, Pachecos, Guerreros, Estudillos, Vallejos, Alvarados, De la Guerras, Castros, Micheltorrenas, the descendants of "Conquistadores," drink to Mexico. High rises the jovial chatter. Good aguadiente and mission wine warm the hearts of the fiery Californian orators. A proud day for Monterey, the capital of a future Empire of Gold. The stranger is cast out. Gay caballeros are wending to the bear-baiting, the bull-fights, the "baile," and the rural feasts. Splendid riders prance along, artfully forcing their wild steeds into bounds and curvets with the rowels of their huge silver-mounted spurs.

Dark lissome girls raise their velvety eyes and applaud this daring horsemanship. Se¤ioritas Luisa, Isabel, and Panchita lose no point of the display. In a land without carriages or roads, the appearance of the cavalier, his mount, his trappings, most do make the man shine before these fair slips of Mexican blue blood.

Richard Savage's The Little Lady of Lagunitas: A Franco-Californian Romance is cataloged under 'California -- Fiction,' yet the excerpts reveal that the narrative spends considerable time on Civil War battlefields in Georgia and Tennessee. The opening historical introduction frames the novel as a political commentary on California's role in the Secession crisis, while the later passages follow Colonel Maxime Valois through the Wilderness and Missionary Ridge. This tension between the catalog subject and the actual content raises questions about how the romance genre accommodates military history.

A Romance of War, Not Landscape

The catalog subject 'California -- Fiction' suggests a regional novel centered on local color, but the excerpts depict California primarily as a distant concern. Valois, a French-Californian planter, is shown fighting for the Confederacy in the East, longing for news from his wife Donna Dolores and his rancho at Lagunitas. The only extended description of California appears in the introduction, which sketches a history of 'mad riot' and 'giant schemers.' The romance plot—implied by the title's 'Franco-Californian' label—is barely visible in the provided text, which focuses on military strategy and political conspiracy.

The Introduction as Political Manifesto

The novel's introduction, written in the voice of a historian, asserts that California was 'acquired for the evident purpose of extending slave-holding territory' and that its early society was dominated by 'daring conspirators' who 'spoiled the Mexican, robbed the Indian.' This framing is not neutral background; it positions the novel as a defense of the Lost Cause. The catalog subject does not capture this polemical stance. Readers expecting a pastoral romance will instead encounter a sustained argument about California's thwarted secession, complete with references to 'the fatal conspiracy' and 'the failure to raise the Southern Cross in the West.'

Battle Scenes and Missing Romance

The longest excerpt follows Valois through the 1863-64 campaigns, with detailed descriptions of Chickamauga, Missionary Ridge, and Sherman's march. The prose is dense with martial rhetoric: 'rivers of human blood,' 'the serpent of the Western army writhes,' 'the grim ploughshare of war.' The 'little lady' of the title—presumably Dolores—appears only in Valois's anxious thoughts. The romance is deferred, subsumed by the war narrative. This imbalance suggests that the novel's generic label may mislead readers seeking a love story, as the excerpts prioritize military history over personal relationships.

Readers approaching this work through its catalog entry should adjust expectations: the California setting is a backdrop for a Civil War epic with a Confederate slant. The romance element is largely implied rather than dramatized in the available text. Those interested in 19th-century historical fiction about the American West and the Lost Cause may find the novel rewarding, while those seeking a conventional love story may be surprised by the preponderance of battle scenes and political argument.

That rainy afternoon, I lingered over the Reading Companion’s note about Savage’s book—how its catalog label insisted on California while the story stayed tangled in Confederate politics and French courtship. The mismatch felt familiar, like remembering a place through someone else’s memory. Later, almost without thinking, I picked up When Valmond Came to Pontiac: The Story of a Lost Napoleon. Complete — A Reader’s Guide and found the same quiet tension: a stranger arrives, and every certainty quietly bends.

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