A Gentleman's Gentleman 1909 — A Reader’s Guide

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Smith, Francis Hopkinson, 1838-1915 Project Gutenberg 2007 Not confirmed
Short stories; Americans -- England -- Fiction Readers of public-domain and historical texts
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Words 7,812
Reading time 34 min
Text sections 1

The source record for A Gentleman's Gentleman 1909 — A Reader’s Guide measures this digital text at 7,812 words, 34 min estimated reading time, and 1 detected text section.

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Three American artists reunite at a Thames-side inn, where their banter about English manners and a millionaire's arrival exposes contrasts in transatlantic social codes, told through brisk dialogue and a narrator's wry observations.
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ing after their arrival; had remained away two weeks, reappearing again with a grin on his face that had frozen stiff and had never relaxed its grip. “You can still see it; turn your head, Mac, and let the gentleman see your smile.” Since that time he had spent his nights writing letters, and his days poring aver the morning’s mail. “Got his pocket full of them now, and is so happy he’s no sort of use to anybody.” Mac now got his innings:

Lonnegan’s airs had been insufferable and his ignorance colossal. What time he could spare from his English tailor--“and you just ought to see his clothes, and especially his checkerboard waistcoats”--had been spent in abusing everything in English art that wasn’t three hundred years old, and going into raptures over Lincoln Cathedral. The more he saw of Lonnegan the more he was convinced that he had missed his calling. He might succeed as a floorwalker in a department store, where his airs and his tailor-made upholstery would impress the hayseeds from the country, but, as for trying to be--The rest was lost in a gurgle of smothered laughter, Lonnegan’s thin, white fingers having by this time closed over the painter’s windpipe.

I had been at work a month; had my present quarters at the White Hart Inn, within a stone’s throw of where we lay sprawled with our faces to the sun--the loveliest inn, by the way, on the Thames, and that was saying a lot--with hand-polished tables, sleeve and trouser-polished arm-chairs, Chippendale furniture, barmaids, pewter mugs, old and new ale, tough bread, tender mutton, tarts--gooseberry and otherwise; strawberries--two would fill a teacup--and _roses!_ Millions of roses! “Well, you fellows just step up and look at ‘em.”

“And not a place to put your head,” said Mac.

“Been there,” replied Lonnegan. “The only decent rooms are reserved for a bloated American millionaire who arrives to-day--everything else chock-a-block except two bunks under the roof, full of spiders.”

Mac drew up one of his fat legs, stretched his arms, pushed his slouch hat from his forehead--he was still on his back drinking in the sunshine--and with a yawn cried:

“They ought to be exterminated.”

“The spiders?” grumbled Lonnegan.

“No, millionaires. They throw their money away like water; they crowd the hotels. Nothing good enough for them. Prices all doubled, everything slimed up by the trail of their dirty dollars. And the saddest thing in it all to me is that you generally find one or two able-bodied American citizens kotowing to them like wooden Chinese mandarins when the great men take the air.”

“Who, for instance?” I asked. No millionaires with any such outfit had thus far come my way.

“Lonnegan, for one,” answered Mac.

The architect raised his head and shot a long, horizontal glance at the prostrate form of the painter.

“Yes, Lonnegan, I am sorry to say,” continued Mac, his eyes fixed on the yellow greens in the swaying tree-tops.

“I was only polite,” protested the architect. “Lambert is a client of mine; building a stable for him. Very level-headed man is Mr. Samuel Lambert; no frills and no swelled head. It was Tommy Wing who was doing the mandarin act 32 the other day at the Carlton--not me. Got dead intimate with him on the voyage over and has stuck to him like a plaster ever since. Calls him ‘Sam’ already--did to me.”

“Behind his back or to his face?” spluttered Mac, tugging at his pipe.

“Give it up,” said Lonnegan, pulling his hat over his face to shield his eyes from the sun.

Mac raised himself to a sitting posture, as if to reply, fumbled in his watch-pocket for a match, instead; shook the ashes from his brier-wood, filled the bowl with some tobacco from his rubber pouch, drew the lucifer across his shoe, waited until the blue smoke mounted skyward and resumed his former position. He was too happy mentally--the girl in the steamer chair was responsible--and too lazy physically to argue with anybody. Lonnegan rolled over on his elbows, and feasted his eyes on the sweep of the sleepy river, dotted with punts and wherries, its background of foliage in silhouette against the morning sky. The Thames was very lovely that June, and the trained eye of the distinguished architect missed none of its beauty and charm. I picked up my brushes and continued work. The spirit of perfect camaraderie makes such silences not only possible but enjoyable. It is the restless chatterer that tires.

The story opens with the narrator, an artist, surprised by the arrival of his friend Sandy MacWhirter and the architect Lonnegan at Sonning-on-the-Thames. Their reunion on the tow-path is marked by Mac's characteristic roar and Lonnegan's quieter warmth, setting up a dynamic of contrasting temperaments. The narrator's description of his quarters at the White Hart Inn—with its hand-polished tables, Chippendale furniture, and “millions of roses”—establishes a setting steeped in English charm, yet the conversation quickly turns to the Americans' observations of English customs, from tailors to cathedral raptures.

The dialogue crackles with affectionate mockery: Mac accuses Lonnegan of “airs” and “ignorance colossal,” while Lonnegan retorts that Mac's grin has been frozen since he began writing letters to a certain girl. This interplay of voices, along with the narrator's wry asides, creates a texture of friendly rivalry and cultural commentary that drives the opening.

Voices in Counterpoint

The narrative relies heavily on dialogue to reveal character and conflict. MacWhirter's boisterousness—his “big arms” and “cheery laugh”—contrasts with Lonnegan's “thin, white fingers” and quieter sarcasm. The narrator, an artist, serves as a neutral observer, recording their banter with a painter's eye for detail. When Mac mimics the English deference to an American millionaire, he taps the curate's chest with a “plump finger,” a gesture that underscores his bluntness. Lonnegan, by contrast, delivers his jabs with a dry nod. This vocal interplay is not mere chatter; it is the primary vehicle for the story's exploration of national character, as each man's speech patterns reflect his attitudes toward English formality and American directness.

The Arrival of Sam Lambert

The entrance of the American millionaire Lambert and his valet Tommy shifts the social dynamics. Tommy's rapid-fire monologue—listing Savoy suppers, Gainsboroughs, and a duke's stables—reveals a man who measures status by proximity to titled names. His dismissal of the curate and mill-owner, who “absorb every word,” highlights a class blindness that the story treats with irony. The narrator notes that Tommy “seemed to have forgotten my name,” a small slight that underscores the hierarchy of wealth. Yet the story does not condemn; it observes. The contrast between Tommy's bustling self-importance and the earlier artists' easy camaraderie suggests that genuine connection, in this world, belongs to those who laugh together on the grass.

Transatlantic Gestures

Small actions carry large meanings. The narrator's anecdote about offering a trade dollar to a Sandy Hook pilot—who hands it back with “What's this for? No use to me”—becomes a parable of American shame and English pride. Mac's mockery of the inn staff's “kotow” to the millionaire contrasts with the pilot's refusal of a tip, implying that true gentility lies not in deference but in self-respect. The story's title, A Gentleman's Gentleman, hints at this theme: who serves whom, and what does service reveal about character? The valet Tommy, carrying crushed ice for his employer's drink, performs a ritual of devotion that the artists find both amusing and telling. These gestures—a dollar refused, a drink prepared—are the story's moral compass.

The excerpts offer a self-contained vignette of social observation, but the full story may develop these tensions further. Readers attentive to the narrator's painterly eye—the “silver sheen of the river,” the “low-branched trees”—will find a texture that rewards close reading. The dialogue, brisk and specific, carries the weight of character and theme. Approach this as a study in manners, where a hand-polished table or a forgotten name speaks as loudly as any speech.

There’s a moment in A Gentleman’s Gentleman where the talk around the Thames turns on what’s left unsaid between Americans and English, and it lingers. That same ache of place and belonging surfaces quietly in Una of the hill country 1911 — A Reader’s Guide, though the hills couldn’t be further from the river. Funny how those old stories circle the same unspoken thing. I keep thinking about that.

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