The Complete Project Gutenberg Writings of Charles Dudley Warner — Edition Insights
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Chapter X. and the last of the appendix to the "Map of Virginia," and is Smith's denial, already quoted, of his intention to marry Pocahontas. In this passage he speaks of her as "at most not past 13 or 14 years of age." If she was thirteen or fourteen in 1609, when Smith left Virginia, she must have been more than ten when he wrote his "True Relation," composed in the winter of 1608, which in all probability was carried to England by Captain Nelson, who left Jamestown June 2d.
The next contemporary authority to be consulted in regard to Pocahontas is William Strachey, who, as we have seen, went with the expedition of Gates and Somers, was shipwrecked on the Bermudas, and reached Jamestown May 23 or 24, 1610, and was made Secretary and Recorder of the colony under Lord Delaware. Of the origin and life of Strachey, who was a person of importance in Virginia, little is known. The better impression is that he was the William Strachey of Saffron Walden, who was married in 1588 and was living in 1620, and that it was his grandson of the same name who was subsequently connected with the Virginia colony. He was, judged by his writings, a man of considerable education, a good deal of a pedant, and shared the credulity and fondness for embellishment of the writers of his time. His connection with Lord Delaware, and his part in framing the code of laws in Virginia, which may be inferred from the fact that he first published them, show that he was a trusted and capable man.
William Strachey left behind him a manuscript entitled "The Historie of Travaile into Virginia Britanica, &c., gathered and observed as well by those who went first thither, as collected by William Strachey, gent., three years thither, employed as Secretaire of State." How long he remained in Virginia is uncertain, but it could not have been "three years," though he may have been continued Secretary for that period, for he was in London in 1612, in which year he published there the laws of Virginia which had been established by Sir Thomas Gates May 24, 1610, approved by Lord Delaware June 10, 1610, and enlarged by Sir Thomas Dale June 22, 1611.
The "Travaile" was first published by the Hakluyt Society in 1849. When and where it was written, and whether it was all composed at one time, are matters much in dispute. The first book, descriptive of Virginia and its people, is complete; the second book, a narration of discoveries in America, is unfinished. Only the first book concerns us. That Strachey made notes in Virginia may be assumed, but the book was no doubt written after his return to England.
[This code of laws, with its penalty of whipping and death for what are held now to be venial offenses, gives it a high place among the Black Codes. One clause will suffice:
"Every man and woman duly twice a day upon the first towling of the Bell shall upon the working daies repaire unto the church, to hear divine service upon pain of losing his or her allowance for the first omission, for the second to be whipt, and for the third to be condemned to the Gallies for six months. Likewise no man or woman shall dare to violate the Sabbath by any gaming, publique or private, abroad or at home, but duly sanctifie and observe the same, both himselfe and his familie, by preparing themselves at home with private prayer, that they may be the better fitted for the publique, according to the commandments of God, and the orders of our church, as also every man and woman shall repaire in the morning to the divine service, and sermons preached upon the Sabbath day, and in the afternoon to divine service, and Catechism upon paine for the first fault to lose their provision, and allowance for the whole week following, for the second to lose the said allowance and also to be whipt, and for the third to suffer death."]
The collection opens with a preface to a travel sketch titled Baddeck and That Sort of Thing, where Warner addresses a friend with self-deprecating humor, calling the sketches “light.” This informal, epistolary tone recurs throughout, even in later essays that turn sharply critical. For instance, in an essay on England’s industrial development, Warner shifts to a stern, rhetorical mode, asking whether the pursuit of wealth has “condemned the mass of the people to unrelieved toil.” The voice is that of a moralist who moves easily from anecdote to argument, often using direct questions to engage the reader.
From Travel Sketch to Social Critique
The excerpts show a marked shift in register. The travel writing in Baddeck is genial and descriptive, with Warner noting that his friend “first taught me to say the name Baddeck.” In contrast, the later essays adopt a more urgent, analytical tone. In one passage, Warner dissects the economic priorities of England, arguing that “the policy pursued has made England the richest of countries, a land of the highest refinement and luxury for the upper classes, and of the most misery for the great mass of common people.” This transition from light observation to pointed social commentary is a defining feature of the collection. The reader moves from a summer trip to a critique of industrial capitalism, with Warner using the same direct, conversational style to address both.
Recurring Motifs: Money, Leisure, and the Quality of Life
Across the excerpts, Warner returns to the tension between material wealth and human well-being. In the essay on England, he asks whether statesmen have “put the accumulation of wealth above the good of individual humanity.” He extends this critique to the United States, noting that despite different conditions, “we have had, all the same, a distinctly material development.” Warner is particularly interested in the class that has “money and leisure,” questioning what it “chiefly care[s] for.” He lists “things of the mind or things of the senses” as alternatives, implying a moral judgment. This motif appears in multiple essays, suggesting a consistent concern with the purpose of prosperity and the dangers of mere accumulation.
Rhetorical Strategies and Structural Patterns
Warner frequently employs rhetorical questions and parallel structures to build his arguments. In the industrial critique, he asks, “would they have reared the industrial fabric we now see there?” and later, “what does it chiefly care for?” These questions serve to involve the reader and underscore his points. He also uses contrast: England’s “highest refinement” versus “most misery,” or the United States’ “substantial appliances for education” versus the “raging unrest and race for fortune.” The essays often begin with a specific observation—a trip, a newspaper item—and expand into broader social analysis. This pattern of moving from the particular to the general is a hallmark of Warner’s essayistic style, making his critiques feel grounded in concrete experience.
Readers approaching this collection should be prepared for a wide tonal range. Warner’s voice can be wry and anecdotal in one piece, then earnest and polemical in the next. The essays reward attention to his rhetorical moves—especially his use of questions and contrasts—as they reveal a writer deeply engaged with the social questions of his era. The travel sketches provide a lighter entry point, while the later essays offer sustained argument. Moving through the collection, one can trace Warner’s evolving concerns and his consistent effort to balance entertainment with moral reflection.
I kept thinking about Warner’s quiet unease with all that piled-up wealth, how it hollows out a day. Then I drifted to The Conflict with Slavery Part 1 from The Works of John Greenleaf Whittier, Volume VII — A Closer Reading, and that same ache for a simpler conscience showed up—different fight, same inner weather. It stayed with me like a half-remembered porch conversation.
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