The Black Colonel — Story, Setting & Ideas

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Milne, James, 1865-1951 Project Gutenberg 2007 Not confirmed
Scotland -- History -- 18th century -- Fiction; Love stories Readers of public-domain and historical texts
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Edition facts

Words 47,736
Reading time 208 min
Text sections 4

The catalog record for The Black Colonel — Story, Setting & Ideas provides practical reading context through 47,736 words, 3 hr 28 min estimated reading time, and 4 detected text sections.

The text analysis averages about 26.5 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 “Scotland -- History -- 18th century -- Fiction,” connecting these edition facts with the source record’s subject description.

A first-person narrative set in the 18th-century Aberdeenshire Highlands, blending family tradition, a thunderstorm, and a duel among 'broken men' to frame a tale of Jacobite-era adventure and romance.
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Editorial Edition Score 4.6/5

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  • Description quality20 pts
  • Title & short description10 pts
  • Source metadata20 pts
  • Text length15 pts
  • Chapters / structure15 pts
  • EPUB file integrity20 pts

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Read the Text

This was said with a rough sneer, and the Black Colonel made the sting sharper by adding, "You'll be thinking it an assured capture, with the ends of the Pass sealed by red-coats and its sides so steep that only those tough sheep over there can climb them."

"Truth," said I quickly, gaining my tongue, "will force you to eat those words, for I knew nothing of all this. It will be a bitter meal for you to digest, if I, by good chance, am there to assist you."

"A Highland welcome will be yours," quoth he arrogantly; "a welcome as warm as if I were to bring my riding whip round your shoulders now."

His words, cracking as if they were a lash, stung me beyond endurance. I made a step to strike him, and we might have been at it, like common brawlers, only he saved us from that shame. He had been waiting with his left foot in the stirrup. When I drove at him he swung on to the back of Mack, who turned half round, as a spirited horse does in the process of being mounted. This threw his big body between us, but the Black Colonel leant down and said in my ear, "To our next meeting, my kinsman! May it be soon!"

Then he rode for an opening in the undergrowth which braided the lower slopes of the precipitous Pass, and I was left alone, a man all a-wonder, for events were growing beyond me, as they do when suddenly we find our whole personal fortune, even our spiritual destiny, put to the ordeal of the unexpected.

_III.--Over the Hills of Home_

How shall I tell, with proper restraint and yet efficiency, what followed the going of the Black Colonel on his black horse?

The Pass, wherein we had met so sharply, lies almost due east and due west. You would have a good idea of its appearance, if you were to suppose a hill twice as long from east to west as it is broad from north to south. Then imagine its length sliced in two, and each half, by force of dead weight, falling away from the other. Heather and whins had seeded on the sliced faces, and after them the hardy silver birch and the hardier green fir had sprung up. Nature makes coverings for the sores suffered by Mother Earth, as a dog licks a bruise until the hair grows again.

The strong Highland winds and the heavy Highland rains and snows had wrinkled the riven hill in a hundred ways. Its twin faces were warted with rocks, from which most of the soil had been washed away, leaving them as though suspended in mid-air. Waters, draining from the higher hills, had run down those faces, making ribboned scores to the bottom. There had been constant falls of earth from above, and here and there a large tree had been thrown over the abyss, and, in that position, holding on by its roots, had taken a new lease of life.

Thanks then to Nature, working for long years, the twin, or rather the divorced hill-cheeks which, at their separation, were raw earth, now had a covering of undergrowth and overgrowth. It would be dead in the winter when the sap is down, budding in the spring when the sap rises, green in the summer when it has run into leafage, brown in the autumn when the storage roots begin to call their own back again.

A sort of rough road, worn by usage, as a short-cut for the folk of the region, ran on the level between the halves of the Pass. Big rocks fallen from above lay around, and I confusedly sat down beside one of these. It broke the snellish wind which had begun to blow with the first dawn, as it often does in those parts, a blast to the parting night and the coming day.

Presently a shot was fired from one end of the Pass and I could make no mistake as to the weapon used. It was the military flintlock, a clumsy gun, better suited to scare crows than shoot straight, but it was the best we had.

A warning, a signal for some purpose, I judged, because it was followed by what I can only describe as a waiting silence. You had the echoes of the shot scattering up the heights of the Pass, and then a tense feeling in the atmosphere, as if a hundred men expected an answer. It came, in another straggling shot, from the other end of the Pass.

The narrator opens by grounding his story in family memory: scraps of talk from his mother, a Forbes of Deeside, and his grandfather's recollections of Red Coat garrisons at Braemar and Corgarff. This is not a historian's account but a self-consciously imperfect transmission, 'from mouth to mouth,' that may have lost 'immediacy of phrase' yet preserves 'the high spirit of adventure.' The author invokes Ossian and George Washington to frame his humble aim.

The excerpts show a tale that moves between personal recollection and dramatic incident. A thunderstorm is described with military metaphor—'scout-like horns,' 'the very panoply of havoc'—and a duel is interrupted by a treacherous handshake, resolved by a left-hand dagger stroke. The narrator is a spectator, then a participant, in a landscape where weather and human action converge.

A Story from the Hills

The narrative voice is that of a man who has gathered his material from 'scraps of talk' and family tradition. He names his sources: a Forbes family 'long planted in the brave uplands of Deeside,' and a grandfather whose folk were on 'the no less brave uplands of Donside.' This is not a claim to documentary accuracy but to a kind of inherited truth. The author admits that oral transmission 'necessarily loses immediacy of phrase, even of fable,' yet he hopes that Jock Farquharson of Inverey, if he could return, 'might recognize it.' The story is thus presented as a reconstruction, coloured by 'romantic colour' and 'dancing atmosphere,' but anchored in specific geography and family memory.

Weather as Warfare

The thunderstorm sequence is the most detailed passage in the excerpts. The narrator watches from a height as 'a great thunderstorm on the march' advances 'like an army going to war.' The clouds are described in layered colours: 'inky black,' 'half-black, half-orange,' 'a depth of iridescence,' and finally 'a molten pot boiling and rolling in august wrath.' The storm 'eats up' a solitary figure in the valley, and the narrator descends into the 'black deluge,' where rainwater runs 'inches deep' and scours away gravel and rocks. This is not mere backdrop; the storm becomes 'an event in our local history' and a 'quick personal adventure,' linking natural spectacle to human narrative.

A Duel and a Trick

The excerpt includes a brief but vivid account of a duel among 'broken men'—outlaws or fugitives. One fighter, described as 'a slim fellow' with 'false doctrine,' proposes a handshake before the fight, then grips his opponent's right hand to strike a foul blow. Donald Oig, 'swift of instinct and eye,' catches out his dagger with his left hand and stabs the trickster. The witnesses 'had nothing to complain about,' and Donald goes his way. The episode is presented as a memory that 'wandered like that' while the narrator ate, suggesting a mind stocked with such tales. The contrast between the treacherous handshake and the swift, left-handed response underscores a code of honour that is tested and upheld in a single, brutal moment.

The Black Colonel does not offer a continuous plot in these excerpts but rather a series of vivid, self-contained scenes: a family tradition, a storm, a duel. Readers should attend to the narrator's framing—his insistence on the tale's imperfect transmission and his hope that some 'romantic colour' has survived. The landscape of Deeside and Donside is not just setting but a character in its own right, shaping both memory and action. Approach this as a work that values atmosphere and incident over linear narrative, and be prepared for digressions that circle back to the hills.

Reading about the Black Colonel’s stormlit duel, I remembered my grandfather’s quiet account of a family rift, and how Jesse Cliffe once held that same ache of belonging. Both books feel less like stories and more like weather—something that settles in the bones. I keep returning to that feeling, the way you revisit a hillside. Jesse Cliffe — Story, Setting & Ideas lingers the same way, unhurried, like an old photograph turning amber.

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