The Denver Express From "Belgravia" for January, 1884 — Themes and Context

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Hayes, Augustus Allen, 1837-1892 Project Gutenberg 2007 Not confirmed
Short stories; Train robberies -- Fiction Readers of public-domain and historical texts
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Edition facts

Words 12,085
Reading time 53 min
Text sections 2

This digital edition of The Denver Express From "Belgravia" for January, 1884 — Themes and Context is described by source-level measurements including 12,085 words, 53 min estimated reading time, and 2 detected text sections.

The text analysis averages about 19.4 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 “Short stories,” connecting these edition facts with the source record’s subject description.

A.A. Hayes's 1884 train-robbery tale from Belgravia magazine uses a shifting narrative pace—from leisurely, ironic description of the Missouri River to taut telegraphic warnings and a husband's quiet resolve—to build suspense before the attack.
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ck to their quarters. The men on the _mesa_, balked of their purpose, had withdrawn.

Sam accompanied Sinclair to his door, and then sententiously remarked: “Major, I think I'll light out and find some of the boys. You ain't got no call to know anything about it, but I allow it's about time them cusses was bounced.”

Three nights after this, a powerful party of _Vigilantes_, stern and inexorable, made a raid on all the gambling dens, broke the tables and apparatus, and conducted the men to a distance from the town, where they left them with an emphatic and concise warning as to the consequences of any attempt to return. An exception was made in Jeff Johnson's cases--but only for the sake of his daughter--for it was found that many a “little game” had been carried on in his house.

Ere long he found it convenient to sell his business and retire to a town some miles to the eastward, where the railroad influence was not as strong as at Barker's. At about this time, Sinclair made his arrangements to go to New York, with the pleasant prospect of marrying the young lady in Fifth Avenue. In due time he arrived at Barker's with his young and charming wife and remained for some days. The changes were astounding. Commonplace respectability had replaced abnormal lawlessness. A neat station stood where had been the rough contractor's buildings. At a new “Windsor” (or was it “Brunswick”?) the performance of the kitchen contrasted sadly (alas! how common is such contrast in these regions) with the promise of the _menu_. There was a tawdry theatre yclept “Academy of Music,” and there was not much to choose in the way of ugliness between two “meeting-houses.”

“Upon my word, my dear,” said Sinclair to his wife, “I ought to be ashamed to say it, but I prefer Barker's _au naturel_.”

One evening, just before the young people left the town, and as Mrs. Sinclair sat alone in her room, the frowsy waitress announced “a lady,” and was requested to bid her enter. A woman came with timid mien into the room, sat down, as invited, and removed her veil. Of course the young bride had never known Sally Johnson, the whilom belle of Barker's, but her husband would have noticed at a glance how greatly she was changed from the girl who walked with Foster past the engineers' quarters. It would be hard to find a more striking contrast than was presented by the two women as they sat facing each other: the one in the flush of health and beauty, calm, sweet, self-possessed; the other still retaining some of the shabby finery of old days, but pale and haggard, with black rings under her eyes, and a pathetic air of humiliation.

“Mrs. Sinclair,” she hurriedly began, “you do not know me, nor the like of me. I've got no right to speak to you, but I couldn't help it. Oh! please believe me, I am not real downright bad. I'm Sally Johnson, daughter of a man whom they drove out of the town. My mother died when I was little, and I _never_ had a show; and folks think because I live with my father, and he makes me know the crowd he travels with, that I must be in with them, and be of their sort. I never had a woman speak a kind word to me, and I've had so much trouble that I'm just drove wild, and like to kill myself; and then I was at the station when you came in, and I saw your sweet face and the kind look in your eyes, and it came in my heart that I'd speak to you if I died for it.” She leaned eagerly forward, her hands nervously closing on the back of a chair. “I suppose your husband never told you of me; like enough he never knew me; but I'll never forget him as long as I live. When he was here before, there was a young man”--here a faint color came in the wan cheeks--“who was fond of me, and I thought the world of him, and my father was down on him, and the men that father was in with wanted to kill him; and Mr. Sinclair saved his life. He's gone away, and I've waited and waited for him to come back--and perhaps I'll never see him again. But oh! dear lady, I'll never forget what your husband did. He's a good man, and he deserves the love of a dear good woman like you, and if I dared I'd pray for you both, night and day.”

The Denver Express opens not with a train but with a clipper ship and a sailor's shanty, its narrator lingering over the Missouri River's “tipsily” muddy course before reaching the terminal station. This unhurried, almost essayistic voice—mocking grandiloquent train names and quoting a local poet's cribbed verses—gives way to a precise social geography: passengers are arranged by class, from emigrants and cowboys to “people of better station.” The pace shifts markedly when a station agent receives a coded telegram about the Perry gang, and the narrative tightens to short, urgent exchanges. Hayes uses this contrast between expansive description and clipped dialogue to create a suspense that feels earned rather than forced.

From Shanty-Song to Telegraphic Warning

The story's opening paragraph is a bravura set piece: a single, sprawling sentence that personifies the Missouri as a drunken fellow locking arms with a dignified pedestrian. The narrator's tone is wry, almost scholarly, as he dissects the river's behavior and the railroad's advertising puffery. This leisurely pace continues through the station scene, where the train's departure is described with the same unhurried detail. But the rhythm changes abruptly when the station agent receives a telegram: “Reported Perry gang will try wreck and rob No. 17 near —xth mile-post.” The prose contracts into fragments and directives. The agent's final remark—“It's worth about ten thousand dollars”—is delivered with a laconic finality that signals a shift from observation to action. Hayes uses this structural pivot to move the reader from a world of description into one of imminent danger.

Silence and Understatement in the Face of Danger

When engineer Sinclair reads the despatches, his response is minimal: “All right. Be sure to keep the matter perfectly quiet.” At breakfast he is distrait, and his wife must ask what is wrong. The dialogue that follows is stripped of melodrama. Sinclair shows her the telegrams and says, “My only thought is about you, my dear child.” She replies, “My place is with you.” The exchange is brief, almost flat, yet it carries the weight of a decision made without hesitation. Hayes avoids heightened language; the characters speak in plain, functional sentences. This restraint makes their courage feel more real than any declaration of bravery would. The narrative voice, which earlier indulged in elaborate similes, now reports action with a reporter's economy.

Foster's Story and the Gathering of Resolute Men

Sinclair's former gambler acquaintance Foster provides a second narrative thread. His account of being rescued at Barker's and his vow to find the woman he left behind is told in a confessional, slightly halting style: “I've two things to do now, Major… I want to find that poor girl.” When Sinclair asks if he knows the Perry gang, Foster's answer is blunt: “Perry is as ungodly a cutthroat as ever killed an emigrant in cold blood.” The language here is direct, even coarse, contrasting with the narrator's earlier polish. Hayes uses Foster's vernacular to ground the story in a rougher, more immediate reality. The plan that emerges—Sinclair will take charge ahead, Foster will pick resolute men from the passengers—is laid out in terse, practical terms. The pace accelerates again, but the prose remains controlled, building toward a confrontation that the excerpts leave unresolved.

Hayes's story rewards attention to its shifting registers: the narrator's ironic omniscience, the clipped urgency of telegrams, and the plainspoken resolve of men facing danger. Readers may note how the opening's elaborate similes—the river as a drunkard, the train as a “snorting iron steed”—give way to a leaner, more dramatic style as the plot tightens. The incomplete excerpts leave the outcome uncertain, but the narrative's structural care is evident throughout.

Reading The Denver Express, I felt the quiet tension of a journey where calm descriptions slowly turn into whispered warnings. That same uneasy anticipation lingers in The Mission; or Scenes in Africa — Key Ideas to Explore, where each step deeper into unfamiliar land carries an unspoken promise of change, as if the horizon itself were holding its breath, waiting to reveal what we cannot yet see.

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