The Lost Despatch — Reading Notes

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Lincoln, Natalie Sumner, 1881-1935 Project Gutenberg 2008 Not confirmed
United States -- History -- Civil War, 1861-1865 -- Fiction; Spy stories Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 59,253
Reading time 258 min
Text sections 8

Before opening The Lost Despatch — Reading Notes, the edition data offers a quick orientation: 59,253 words, 4 hr 18 min estimated reading time, and 8 detected text sections.

The text analysis averages about 13.3 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 “United States -- History -- Civil War, 1861-1865 -- Fiction,” connecting these edition facts with the source record’s subject description.

Natalie Sumner Lincoln's 1913 novel intertwines a Civil War spy plot with a locked-room murder mystery, as a Union captain is found dead and a major unconscious in a Washington boarding house. The excerpts reveal a focus on interrogation, physical evidence, and period setting rather than battlefield action.
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Editorial Edition Score 4.7/5

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  • Text length15 pts
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Read the Text

Symonds had dismounted, and, drawing off his glove, felt the animal's leg.

"Strained a tendon," he growled, blowing on his numb fingers to warm them. "I'll have to lead him to the road; it is over there," pointing to a slight dip in the ground. "You go ahead, sir; it's lucky I know the country."

As the two men reached the edge of the wood and stood debating a moment, they were disturbed by the distant sound of hoof beats.

"Get over on that side of the road," whispered Lloyd, "and keep out of sight behind that tree; leave your horse here."

Symonds did as he was told none too soon. Around the bend of the road came a horseman. Quickly Lloyd's challenge rang out:

As he spoke, Lloyd swung his horse across the narrow road.

Swerving instinctively to the right, the newcomer was confronted by Symonds, who had stepped from behind the tree, revolver in hand. An easy target for both sides, the rider had no choice in the matter. Checking his frightened horse, he called:

"Are you Yanks or rebels?"

Symonds lowered his revolver. He knew that a Confederate picket would not be apt to use the word "rebels."

"We are Yanks," he answered, "and you?"

"Advance, friend," ordered Lloyd, "but put your right hand up. Now," as the rider approached him, "where did you come from, and where are you going?"

"From Harper's Ferry, bearing despatches to Adjutant-General Thomas in Washington from General John Stevenson, commanding this district."

"How did you come to take this cut?" demanded Symonds.

"I rode down the tow path until I reached Edward's Ferry, then cut across here, hoping to strike the turnpike. It's freezing on the tow-path." As he spoke the trooper pulled the collar of his heavy blue overcoat up about his ears until it nearly met his cavalry hat.

The clouds were drifting away from before the moon, and a ray of light illuminated the scene. Lloyd inspected the trooper suspiciously; his story sounded all right, but ...

"Your regiment?" he asked.

"The First Maryland Potomac Home Brigade, Colonel Henry A. Cole. I am attached to headquarters as special messenger."

"Let me see your despatch."

"Hold on," retorted the trooper. "First, tell me who you are."

"That's cool," broke in Symonds. "I guess you will show it to us whether you want to or not. Seems to me, young man," glancing closely at the latter's mount, "your horse is mighty fresh, considering you have ridden such a distance."

"We in the cavalry know how to keep our horses in good condition, as well as ride them." The trooper pointed derisively at Symonds' sorry nag standing with drooping head by the roadside.

"None of your lip," growled Symonds angrily; his poor riding was a sore subject. Further discussion was cut short by Lloyd's peremptory order:

"Come; I am waiting; give me the despatch," and, as the trooper still hesitated, "we are agents of the United States Secret Service."

"In that case, sir." The trooper's right hand went to the salute; then he unbuttoned his coat, and fumbled in his belt. "Here it is, sir."

As Lloyd bent forward to take the expected paper, he received instead a crashing blow on the temple from the butt end of a revolver, which sent him reeling from the saddle. At the same time, Symonds, who had hold of the trooper's bridle, was lifted off his feet by the sudden rearing of the horse, and before he had collected his wits, he was dashed violently to one side and thrown on the icy ground.

Symonds staggered to his feet, but at that instant the trooper, who was some distance away, swerved suddenly toward the woods, and his broad cavalry hat was jerked from his head by a low-hanging branch. His horse then bolted into the middle of the road, and for a second the trooper's figure was silhouetted against the sky in the brilliant moonlight. A mass of heavy hair had fallen down the rider's back.

"By God! It's a woman!" gasped Symonds, as he clutched his revolver.

A shot rang out, followed by a stifled cry; then silence, save for the galloping hoof beats growing fainter and fainter down the road in the direction of Washington.

Up Thirteenth Street came the measured tread of marching feet, and two companies of infantry turned the corner into New York Avenue. The soldiers marched with guns reversed and colors furled. A few passers-by stopped to watch the sad procession. Suddenly they were startled by peal on peal of merry laughter, which came from a bevy of girls standing in front of Stuntz's notion store. Instantly two officers left their places by the curb and walked over to the little group.

Natalie Sumner Lincoln's The Lost Despatch (1913) opens not on a battlefield but in a Maryland woods on a bitterly cold December night in 1864, where two riders discuss a captured paper and a spy in Washington. The catalog subjects classify it as a Civil War spy story, yet the excerpts quickly shift focus: the narrative centers on a locked-room death, a blow to the head, and a room full of officials—President Lincoln, Secretary Stanton, and Colonel Baker—interrogating witnesses. The spy plot recedes as the mystery of Captain Lloyd's death and Major Goddard's unconscious body takes precedence.

A Mystery Framed by War

The excerpts show that the Civil War setting provides atmosphere and motive, but the plot mechanics are those of a detective novel. The opening chapter establishes a clandestine mission: Captain Lloyd and Symonds have captured a paper from a sutler named Schmidt, who may be a go-between for a spy. Yet by the later excerpt, the paper is forgotten; the drama unfolds in a boarding house bedroom. The President himself presides over an inquiry, asking Symonds to "tell us all you know of this affair." The war is a backdrop, not the engine of the story. Lincoln uses historical figures—Lincoln, Stanton, Baker—as characters, lending gravity to what is essentially a domestic murder investigation.

Evidence and Interrogation

The excerpts emphasize physical evidence and testimony. Symonds describes finding Captain Lloyd dead in bed and Major Goddard unconscious on the floor, having tripped over him. The cause of death is not given; a doctor declares Lloyd "apparently been dead for some hours" and Goddard unconscious from a blow. The narrative dwells on sensory details: the dark room, the moonlight, the cold face, the lack of pulse. Lincoln builds suspense through step-by-step revelation—Symonds' hesitation, Nancy's cry of terror, Stanton's grim satisfaction. The reader is placed in the position of the investigators, piecing together what happened from incomplete accounts.

Nancy's Role and Emotional Stakes

A character named Nancy appears in the later excerpt, reacting with "a low cry of terror" and pleading with Symonds not to say Major Goddard is dead. She is present during the President's interrogation, and Stanton watches her "with grim satisfaction," believing he has found "the vulnerable heel of Achilles." Her emotional response suggests a personal connection to Goddard, possibly romantic. The excerpts do not reveal her full role, but her presence shifts the story from pure detection to include personal jeopardy. Lincoln intertwines the mystery with Nancy's visible distress, hinting at a love triangle or hidden loyalty that may drive the plot.

Readers approaching The Lost Despatch should expect a hybrid: a Civil War setting that provides historical color but a plot driven by a locked-room puzzle and interrogation scenes. The excerpts offer no battle sequences or spycraft; instead, they present a death under suspicious circumstances, a room full of officials, and a woman whose terror suggests deeper stakes. The title's "lost despatch" may be a MacGuffin; the real action is in the boarding house.

Years among the stacks taught me that even a tale of Civil War ciphers and locked rooms, like Miss Lincoln’s The Lost Despatch, holds a quiet kinship with Sewell Ford’s cheerful chronicle of Shorty McCabe — A Reader’s Guide. Both ask after evidence—of character, not just crime. One’s black powder, the other’s plain talk; a shared fondness for knowing folks by their deeds. Nothing more, really.

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