The Grey Brethren, and Other Fragments in Prose and Verse — Edition Insights
Edition facts
The source record for The Grey Brethren, and Other Fragments in Prose and Verse — Edition Insights measures this digital text at 19,732 words, 1 hr 26 min estimated reading time, and 2 detected text sections.
The text analysis averages about 25.7 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 “Poetry,” connecting these edition facts with the source record’s subject description.
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- Description quality20 pts
- Title & short description10 pts
- Source metadata20 pts
- Text length15 pts
- Chapters / structure15 pts
- EPUB file integrity20 pts
Total of 100 points, scaled to a 2.5-5.0 range. Editions with an empty description or a missing EPUB file are not scored.
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face; and in that position she had done wonderful drawings of the High Priest, the Ark of the Covenant, and other Levitical figures. She had a cageful of tame canary-birds which answered to their names and fed from her plate at meal-times. Of these I remember only Roger, a gorgeous fellow with a beautiful voice and strong will of his own, who would occasionally defy his mistress from the secure fastness of a high picture-frame, but always surrendered at last, and came to listen to his lecture with drooping wings.
A city of Peace, this little house, for the same severely-gentle decorum reigned in the kitchen as elsewhere: and now, where is such a haunt to be found?
In the earlier part of this century the Friends bore a most important witness. They were a standing rebuke to rough manners, rude speech, and to the too often mere outward show of religion. No one could fail to be impressed by the atmosphere of peace suggested by their bearing and presence; and the gentle, sheltered, contemplative lives lived by most of them undoubtedly made them unusually responsive to spiritual influence. Now, the young birds have left the parent nest and the sober plumage and soft speech; they are as other men; and in a few short years the word Quaker will sound as strange in our ears as the older appellation Shaker does now.
This year I read for the first time the Journal of George Fox. It is hard to link the rude, turbulent son of Amos with the denizens in my city of Peace; but he had his work to do and did it, letting breezy truths into the stuffy ‘steeple-houses’ of the ‘lumps of clay.’
“Come out from among them and be ye separate; touch not the accursed thing!” he thundered; and out they came, obedient to his stentorian mandate; but alack, how many treasures in earthen vessels did they overlook in their terror of the curse! The good people made such haste to flee the city, that they imagined themselves as having already, in the spirit, reached the land that is very far off; and so they cast from them the outward and visible signs which are vehicles, in this material world, of inward graces. Measureless are the uncovenanted blessings of God; and to these the Friends have ever borne a witness of power; but now the Calvinist intruder no longer divides the sheep from the goats in our churches; now the doctrine of universal brotherhood and the respect due to all men are taught much more effectively than when George Fox refused to doff his hat to the Justice; the quaint old speech has lost its significance, the dress would imply all the vainglory that the wearer desires to avoid; the young Quakers of this generation are no longer ‘disciplined’ in matters of the common social life; yet still they remain separate.
We of the outward and visible covenant need them, with their inherited mysticism, ordered contemplation, and spiritual vision; we need them for ourselves. The mother they have left yearns for them, and with all her faults—faults the greater for their absence—and with the blinded eyes of their recognition, she is their mother still. “_What advantage then hath the Jew_?” asked St Paul, and answered in the same breath—“_Much every way_, _chiefly because that unto them were committed the oracles of God_.” What advantage then has the Churchman? is the oft repeated question today; and the answer is still the answer of St Paul.
The Incarnation is the sum of all the Sacraments, the crown of the material revelation of God to man, the greatest of outward and visible signs, “_that which we have heard_, _which we have seen with our eyes_, _which we have looked upon and our hands have handled of the word of life_.” A strange beginning truly, to usher in a purely spiritual dispensation; but beautifully fulfilled in the taking up of the earthly into the heavenly—Bread and Wine, the natural fruits of the earth, sanctified by man’s toil, a sufficiency for his needs; and instinct with Divine life through the operation of the Holy Ghost.
“_In the sweat of thy face thou shalt eat bread_.”
“_Except ye eat the flesh of the Son of Man and drink His blood ye have no life in you_.”
“_And the leaves of the tree were for the healing of the nations_.”
From Genesis to the Revelation of the Divine reaches the rainbow of the Sacramental system—outward and visible signs of inward and spiritual grace:—
The sacrament of purging, purifying labour, to balance and control the knowledge of good and evil:—
The prefatory note to The Grey Brethren, and Other Fragments in Prose and Verse acknowledges that the book 'seems to possess no other unity than that of type and cover,' yet claims a deeper unity in 'the personal gift, the communication of heart to heart.' This tension between fragmentation and coherence is borne out in the contents: the title essay, a memoir of a Quaker colony on a high hill, sits alongside the absurdist fairy tale 'The Dreadful Griffin,' which features a princess, a griffin, and twenty-seven white cats. The catalog subjects—'Poetry' and 'Short stories'—only partially describe the range; the volume also includes Christmas pieces, nature sketches, and a story about a 'Tinkle-Tinkle.'
Genre Blending Beyond the Catalog
The catalog lists 'Poetry' and 'Short stories' as subjects, but the excerpts reveal a more varied mix. The prefatory note mentions that most pieces appeared in periodicals like The Pilot and The Parents' Review, and that three fairy tales were 'told by word of mouth to one child and another.' The title piece is a personal essay, not a short story: it opens with 'Some of the happiest remembrances of my childhood are of days spent in a little Quaker colony on a high hill.' In contrast, 'The Dreadful Griffin' is a comic fairy tale with a narrator who addresses the reader directly ('I only told you because I wanted you to see that virtue is always rewarded'). The volume also includes a section called 'A German Christmas Eve' and a poem titled 'A Song of Low Degree.' This generic variety suggests that the catalog labels are incomplete.
Voice and Audience in the Fairy Tales
The fairy tales, told orally to children, have a distinctive narrative voice. In 'The Dreadful Griffin,' the storyteller inserts asides: 'But this is a digression, and I only told you because I wanted you to see that virtue is always rewarded.' The tale includes absurd details—a griffin who 'swallowed several buckets of hot brimstone' and a witch who receives 'a pair of fire-bricks and a hot-water tin'—and a moral about cats' honor: 'Honour is dearer to cats than mice or birds.' The prefatory note reveals that the story was 'invented for the “boy named Cecco Hewlett,” of whom Mr Barrie speaks in his Little White Bird.' This context suggests a playful, intimate relationship between teller and listener, quite different from the reflective tone of the title essay.
The Quaker Colony Portrait
The title piece, 'The Grey Brethren,' is a memoir of a Quaker community. The narrator recalls 'seven summers of lonely, delicate childhood' and the walk to a 'little Quaker colony on a high hill,' where 'sheltered by a copse and a few tall trees, stood a small house.' The description emphasizes sensory details: 'a flagged pathway skirting one side of a bright trim garden.' The phrase 'Grey Brethren' likely refers to the Quakers, known for plain dress. The excerpt breaks off before revealing more, but the tone is nostalgic and personal. This contrasts sharply with the catalog's generic 'Short stories' label, as the piece reads more like a memoir or essay than a fictional narrative.
Readers approaching this volume should expect variety rather than uniformity. The catalog subjects 'Poetry' and 'Short stories' provide only a rough guide; the book includes essays, fairy tales, and poems that shift in tone from reflective to comic. The prefatory note suggests that the author's 'characteristic quality' is best displayed in the Christmas papers and 'The Grey Brethren,' but the fairy tales offer a different, playful side. The excerpts are incomplete, so the full range of the collection remains to be discovered.
I have often thought, shelving the two together, how The Grey Brethren and The Complete Project Gutenberg Writings of Charles Dudley Warner — Edition Insights share a quiet, observant breath—both finding the holy in a hedgerow, the gentle humor in a simple pew. Each page feels like a hand resting on a familiar gate, waiting for the evening to settle.
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