Under the Storm — Reading Notes

(0 User reviews)   537
Yonge, Charlotte M. (Charlotte Mary), 1823-1901 Project Gutenberg 2004 Not confirmed
Great Britain -- History -- Civil War, 1642-1649 -- Fiction Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 67,782
Reading time 295 min
Text sections 8

The catalog record for Under the Storm — Reading Notes provides practical reading context through 67,782 words, 4 hr 55 min estimated reading time, and 8 detected text sections.

The text analysis averages about 21.9 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 -- Civil War, 1642-1649 -- Fiction,” connecting these edition facts with the source record’s subject description.

An editorial note on Charlotte M. Yonge's 'Under the Storm,' focusing on its episodic structure, recurring imagery of hiding and exposure, and the movement between domestic interiors and open landscapes during the English Civil War.
Share
Editorial Edition Score 4.7/5

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

How this score is calculated
  • 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.

Edition quality

Read the Text

CHAPTER I. THE TRUST.

"I brought them here as to a sanctuary." SOUTHEY.

Most of us have heard of the sad times in the middle of the seventeenth century, when Englishmen were at war with one another and quiet villages became battlefields.

We hear a great deal about King and Parliament, great lords and able generals, Cavaliers and Roundheads, but this story is to help us to think how it must have gone in those times with quiet folk in cottages and farmhouses.

There had been peace in England for a great many years, ever since the end of the wars of the Roses. So the towns did not want fortifications to keep out the enemy, and their houses spread out beyond the old walls; and the country houses had windows and doors large and wide open, with no thought of keeping out foes, and farms and cottages were freely spread about everywhere, with their fields round them.

The farms were very small, mostly held by men who did all the work themselves with the help of their families.

Such a farm belonged to John Kenton of Elmwood. It lay at the head of a long green lane, where the bushes overhead almost touched one another in the summer, and the mud and mire were very deep in winter; but that mattered the less as nothing on wheels went up or down it but the hay or harvest carts, creaking under their load, and drawn by the old mare, with a cow to help her.

Beyond lay a few small fields, and then a bit of open ground scattered with gorse and thorn bushes, and much broken by ups and downs. There, one afternoon on a big stone was seated Steadfast Kenton, a boy of fourteen, sturdy, perhaps loutish, with an honest ruddy face under his leathern cap, a coarse smock frock and stout gaiters. He was watching the fifteen sheep and lambs, the old goose and gander and their nine children, the three cows, eight pigs, and the old donkey which got their living there.

From the top of the hill, beyond the cleft of the river Avon, he could see the smoke and the church towers of the town of Bristol, and beyond it, the slime of the water of the Bristol Channel; and nearer, on one side, the spire of Elmwood Church looked up, and, on the other, the woods round Elmwood House, and these ran out as it were, lengthening and narrowing into a wooded cleft or gulley, Hermit's Gulley, which broke the side of the hill just below where Steadfast stood, and had a little clear stream running along the bottom.

Steadfast's little herd knew the time of day as well as if they all had watches in their pockets, and they never failed to go down and have a drink at the brook before going back to the farmyard.

They did not need to be driven, but gathered into the rude steep path that they and their kind had worn in the side of the ravine. Steadfast followed, looking about him to judge how soon the nuts would be ripe, while his little rough stiff-haired dog Toby poked about in search of rabbits or hedgehogs, or the like sport.

Steadfast liked that pathway home beside the stream, as boys do love running water. Good stones could be got there, water rats might be chased, there were strawberries on the banks which he gathered and threaded on stalks of grass for his sisters, Patience and Jerusha. They used to come with him and have pleasant games, but it was a long time since Patience had been able to come out, for in the winter, a grievous trouble had come on the family. The good mother had died, leaving a little baby of six weeks old, and Patience, who was only thirteen, had to attend to everything at home, and take care of poor little sickly Benoni with no one to help her but her little seven years old sister.

The children's lives had been much less bright since that sad day; and Steadfast seldom had much time for play. He knew he must get home as fast as he could to help Patience in milking the cows, feeding the pigs and poultry, and getting the supper, or some of the other things that his elder brother Jephthah called wench-work and would not do.

The novel opens with a panoramic view of the English countryside, then narrows to a single figure: fourteen-year-old Steadfast Kenton, seated on a stone watching sheep. This movement from wide landscape to isolated character recurs throughout the book, as the narrative shifts between open fields, cramped hiding places, and the threshold of a farmhouse. The title itself signals a preoccupation with shelter and exposure—the storm is both literal and historical.

Episodic Structure and the Chapter Titles

The chapter headings—'The Trust,' 'The Stragglers,' 'Kirk Rapine,' 'Desolation'—read like a sequence of tableaux rather than a continuous plot. Each chapter isolates a single crisis or encounter, often beginning with a new location or a shift in the group of characters. This episodic quality mirrors the fragmented experience of civilians caught between armies: life is broken into moments of waiting, flight, and confrontation. The titles themselves are nouns or short phrases, not verbs, emphasizing states of being over actions.

Recurring Images of Hiding and Exposure

From the opening description of the farm at the end of a hidden lane to the later scene where Stead is dragged before the Roundheads, the novel repeatedly places characters in positions of concealment or forced visibility. The casket hidden in the opening chapter, the 'Hermit's Gulley' of chapter VII, and the 'Assault of the Cavern' in chapter XXI all literalize the theme of what is hidden and what is exposed. Even the landscape—'broken by ups and downs,' with gorse and thorn bushes—offers both cover and vulnerability.

Movement Between Domestic and Open Spaces

The narrative frequently moves from the interior of the farmhouse or cottage to the open fields, the lane, or the hilltop. The first chapter establishes this rhythm: Stead is first seen outdoors, then the scene shifts to the interior where the casket is hidden. Later, the interrogation of Stead takes place at an inn—a semi-public space—while the hiding of the casket occurs in the private home. This oscillation between inside and outside underscores the breakdown of domestic security during war.

The Role of Silence and Obstinacy

Steadfast's defining trait in the excerpts is a dogged silence that frustrates both his brother and the Roundhead soldiers. The narrator describes him as 'not far removed from a dumb dog,' and his resistance is physical rather than verbal: he stands 'like an image of obstinacy.' This silence is not merely stubbornness but a form of agency. The flogging scene—where the whip marks his shirt with 'streaks of blood'—shows how the body becomes a site of resistance when speech is refused. The novel thus explores how the powerless assert themselves through non-compliance.

Readers attentive to the novel's structure will notice how each chapter builds on a pattern of threat and temporary refuge. The landscape—fields, lanes, caves—functions almost as a character, offering or denying safety. Yonge does not romanticize the countryside; it is as much a source of hardship as of shelter. The episodic form, with its abrupt shifts, keeps the reader alert to the precariousness of every moment.

That rain fell the way Yonge’s plot moves—steady, with small pauses that made me hold my breath. I kept thinking about the wool-press where the child hides, that image of warmth and danger braided together. Later, rummaging for something else, I found His Sombre Rivals — A Reader’s Guide, and the same hush crept back, that feeling of shelter that costs something.

There are no reviews for this eBook.

0
0 out of 5 (0 User reviews )

Add a Review

Your Rating *
There are no comments for this eBook.

Reader reflection

What was your reading experience?

Capture what you thought, learned, and would like to remember.

Your progress 0 / 10
1

Have you finished this book?

2

Did this book hold your interest?

3

Would you recommend this book to another reader?

4

How easy was the book to follow?

Related eBooks