Bred in the bone 1908 — Text and Context

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Page, Thomas Nelson, 1853-1922 Project Gutenberg 2007 Not confirmed
African Americans -- Fiction; Southern States -- Social life and customs -- Fiction Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 13,582
Reading time 60 min
Text sections 2

Bred in the bone 1908 — Text and Context can be approached with a clearer sense of reading commitment from its source measurements: 13,582 words, 1 hr estimated reading time, and 2 detected text sections.

The text analysis averages about 15.0 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 “African Americans -- Fiction,” connecting these edition facts with the source record’s subject description.

In Thomas Nelson Page's 1908 story, a Jockey Club race meeting becomes the backdrop for tensions between old and new, Black and white, and horse and rider. Through the voices of stable hands, owners, and a young woman, the narrative explores inheritance, skill, and the lingering shadow of the Civil War.
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Editorial Edition Score 4.4/5

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  • Title & short description10 pts
  • Source metadata20 pts
  • Text length15 pts
  • Chapters / structure15 pts
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to the speaker and the superior of everyone else with a unanimity which had its precedent only after Salamis.

Robin had been head of Colonel Theodoric Johnston's stable before the war, the time on which his mind dwelt with tender memory; and this, with the consideration with which he was treated by stable-owners and racing-gentlemen who shone like luminaries on the far edge of the stable-boys' horizon, and the old man's undoubted knowledge of a horse, made him an authority in that world.

The Bullfield stable had produced some of the greatest horses of the country--horses to which the most ignorant stable-biped knew the great winners of the present traced back their descent or were close akin--and if Colonel Johnston's stable lost anything of prestige, it was not in Robin's telling of it. He was at it now as he stood at the big white gate, gazing up the road, over which hung a haze of dust. Deucalion, Old Nina, Planet, Fanny Washington, and the whole gleaming array of fliers went by in Robin's illumined speech, mixed up with Revenue, Boston, Timoleon, Sir Archy and a dozen others in a blaze of equine splendor.

“Aw, what 're you giffin us!” jeered a dusky young mulatto, clad in a ragged striped sweater, recently discharged as a stable-boy. “What wus the time then? Why 'n't you read the book?”

This was a dig at Robin, for he was “no great hand at reading,” and the crowd knew it and laughed. The old man turned on the speaker.

“Races now ain't no mo' than quarter-dashes. Let 'em try 'em in fo'-mile heats if they want to see what 's in a hoss. Dat 's the test o' wind an' bottom. _Our_ hosses used to run fo'-mile heats from New York to New Orleans, an' come in with their heads up high enough to look over dis gate.”

“Why 'n't you read the books?” persisted the other, facing him.

“I can't read not much better than you ken _ride_,” retorted Robin. This was a crusher in that company, where riding stood high above any literary attainment; for the other had been a failure as a jockey.

“I 'll bet you a hundred dollars I can----”

Robin gazed at him witheringly.

“You ain' got a hunderd dollars; you ain't got a hunderd cents! You would n't 'a' been wuth a hunderd dollars in slave-times, an' I know you ain' wuth it now.”

The old man, with a final observation that he did n't want to have to go to court as a witness when folks were taken up for stealing their master's money, took out and consulted his big gold stop-watch. That was his conclusive and clinching argument. It was surprising what an influence that watch exercised. Everyone who knew Robin knew that watch had been given him before the war as a testimonial by the stewards of the Jockey Club. It had the indisputable record engraved on the case, and had been held over the greatest race-horses of the country. Robin could go up to the front door of the club and ask for the president--he possessed this exclusive privilege--and be received with an open hand and a smile, and dismissed with a jest. Had not Major McDowell met him, and introduced him to a duke as one of his oldest friends on the turf, and one who could give the duke more interesting information about the horses of the past than any other man he knew? Did not Colonel Clark always shake hands with him when they met, and compare watches? So now, when, as the throng of horse-boys and stable-attendants stood about him, Robin drew his watch and consulted it, it concluded his argument and left him the victor. The old trainer himself, however, was somewhat disturbed, and once more he gazed up the road anxiously. The ground on which he had predicted the greatness of the next day was not that the noted horses already present were entered for the race, but much more because he had received a letter from one whom he sometimes spoke of as “one of his childern,” and sometimes as “one of his young masters”--a grandson of his old master, Colonel Theodoric Johnston of Bullfield--telling him that he was going to bring one of his horses, a colt his grandfather had given him, and try for the big steeplechase stake.

Old Robin had arranged the whole matter for him, and was now awaiting him, for he had written that he could not get there until late in the day before the race, as he had to travel by road from the old place.

The story opens on the afternoon before the spring meeting of an old Jockey Club, where a motley crowd agrees only on the universal desirability of whiskey and the certainty that tomorrow will be the greatest day ever on that course. Among them is Old Man Robin, a former slave who insists no present race can match those "befo' de wah." His tormentors bait him with questions about freedom, but he deflects with sharp retorts about their horse-handling. The scene establishes a world where past and present collide, and where every statement about horses carries a subtext about human worth.

Voices of the Stable

The excerpts are rich with the speech of stable-boys and grooms, whose banter reveals a hierarchy of knowledge and experience. Old Man Robin, who styles himself "Colonel Theodoric Johnston's Robin, of Bull-field, suh," is both a figure of authority and a target for younger men. His refusal to admit any race equals those before the war is a refrain that underscores the theme of loss and change. The hatchet-faced yellow stable-boy who taunts him speaks in a "loud, sharp voice" and bursts into a "strident guffaw," a detail that marks him as an antagonist. The dialogue is dense with horse-talk—blisters, windgalls, hocks, the Liverpool jump—but it also carries social weight. When Mr. Newby dismisses a rider as a "green country boy," Miss Ashland counters: "I never could understand why blood should count in horses and not in men." This line crystallizes the story's central tension between inherited status and demonstrated ability.

The Rose and the Bet

A young woman, Miss Ashland, emerges as a key figure in the excerpts. She holds a rose that has broken off its stem, sticks it in a loop of a sheet, and later a young owner hides it in his jacket. The rose is a fragile token of connection, set against the masculine world of betting and horseflesh. Miss Ashland insists on backing a long-shot horse despite warnings about its knees and hocks. She bets a box of candy against Mr. Newby's cigars, declaring, "I don't approve of betting, but I'll do it this time just to punish you." Her ignorance of racing terms—she asks what "100 to 1" means—is met with laughter, but she remains steadfast. Her loyalty is to the underdog, both horse and rider, and she declares, "I shall back him," refusing to switch even when Colonel Snowden's Hurricane is the favorite. The bet becomes a test of character, not just odds.

Pedigree and Performance

The excerpts repeatedly juxtapose bloodlines with actual performance. The horses are named with care—Swallow, Hurricane, Carrier Pigeon—and their reputations are international. Yet the narrative gives equal weight to the riders: the "green country boy" on the big brown horse is scanned by the crowd, but his eye finds the white hat in the boxes. Mr. Newby scoffs at pedigrees in riders, while Miss Ashland questions why blood should count in horses but not men. The story's title, "Bred in the Bone," suggests that character is innate, but the excerpts complicate this: Old Man Robin's past as a slave is both a source of pride and a trap, and the young rider's skill is yet unproven. The race itself is not described in the excerpts, leaving the outcome uncertain. The tension between what is inherited and what is earned runs through every exchange, from the stable-yard to the betting ring.

Setting as Character

The Jockey Club grounds are painted in specific detail: the big white-painted gate, the parched and yellow dusty road, the paddock where horses file by "spirited and springy." The time is a spring afternoon, and the next day is expected to be a "blaze of glory." But the setting is also social: the boxes where ladies sit, the stands where the crowd streams, the gate where Old Man Robin looks anxiously up the road. The physical environment mirrors the social divisions—the stable-boys cluster at the gate, the owners and their party occupy the boxes. The dust and heat suggest a world on the edge of change, where the old certainties of the antebellum South are fading but not gone.

Readers attentive to dialogue will find the story's heart in its disagreements—over horses, freedom, and the value of blood. The excerpts offer no resolution to the race or the arguments, leaving the reader to weigh the evidence of character against the claims of pedigree. Pay particular attention to how each character's speech reveals their place in this world, and how the horses themselves become proxies for human hopes and disappointments.

That old Page story left me thinking about the quiet weight of place, how a track or a field holds more than just races. It made me remember The Little Gray Lady 1909 — Inside the Classic, where a house seems to breathe its own history. Both feel like watching someone move through a room they know too well, gentler than the noise around them.

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