That Affair at Elizabeth — A Reader’s Guide
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Read the Text
Royce had me by the hand.
"I've a carriage over here, Lester," he said, drawing me toward it, and I noticed that he was fairly quivering with excitement. "I thought you could make this train," he added, as we took our seats and the driver whipped up smartly. "I knew you wouldn't lose any time, and I can't tell you how glad I am to have you here. Curtiss is all broken up--doesn't know which way to turn. Neither do I. I had just sense enough to send you that wire."
"I thought it was a mystery of some sort," I said, beginning to tingle in sympathy with him. "What has happened?"
"The bride-to-be has disappeared," answered Mr. Royce simply; "vanished--skipped out!"
For a moment, I scarcely understood. It seemed preposterous to suppose that I had heard aright.
"Disappeared!" I echoed helplessly. "Skipped out!"
"Yes, skipped out!" and Mr. Royce crushed his unlighted cigar savagely in his fingers and hurled it through the carriage window. "I haven't the slightest doubt that she deliberately ran away."
The sight of his emotion calmed me a little.
"At the last moment?" I questioned.
"Practically at the last moment--less than an hour before the time set for the ceremony. She was getting ready for it--was in her wedding-dress, in fact. I tell you, Lester----"
"Wait," I said, putting out a restraining hand. "Begin at the beginning. What's her name?"
"And she's the 'ideal' Curtiss imagined he'd found?"
"Yes," said Mr. Royce slowly, "and so far as I can judge from what I've seen and heard, she really was as nearly perfect as any woman can be."
"Yet she 'skipped out'!"
"That's why I'm so upset--she was the last woman in the world to do such a thing!"
"Tell me about her," I said.
"I don't know very much; but I do know that she wasn't a mere empty-headed chit. She was an accomplished and cultured woman. I've already told you how her beauty affected me."
I paused a moment to consider it--I was fairly nonplussed. It seemed incredible that such a woman should, under any conceivable circumstances, deliberately desert her lover at the altar!
"And in her wedding-gown!" I murmured, half to myself.
"Yes, in her wedding-gown!" repeated our junior, passing his hand feverishly across his eyes. "It's unbelievable! It's--I can't find any word to describe it. I can scarcely believe I'm awake."
"Perhaps she found she didn't love him," I suggested.
"At the last moment?"
"Stranger things have happened."
"I don't believe it!' A woman like Marcia Lawrence knows her own heart before she goes that far!"
"Suppose we say sudden insanity?"
"Well-balanced women don't go mad merely because they're going to get married."
"Then she didn't run away," I said.
Mr. Royce looked at me quickly.
But the carriage stopped with a jolt and the driver jerked open the door.
I paused, as soon as we reached the pavement, for a look about me. We were evidently in the fashionable quarter of the town. The street was wide, well-kept, and shaded by stately elms. The houses which stretched away on either hand had that spaciousness, that air of dignity and quiet, which bespeaks wealth and leisure. Here was no gaudy architecture, no flamboyant flourish of the newly-rich; rather the evidence of families long-settled in their present surroundings and long-accustomed to the luxuries of a cultured and generous existence.
But it was to the house directly before us that I gave the closest scrutiny. It was a large one, two-storied, with a wide veranda running across the entire front. It stood well back from the street, and was sheltered on each side by magnificent trees. The grounds seemed to be very extensive and were beautifully kept. Along the pavement, a curious crowd was loitering, kept in motion by a policeman, but staring at the house as though they expected to read the solution of the mystery in its inexpressive front.
Mr. Royce nodded to the officer, and we passed through the gate. As we went up the walk, I noticed that the blinds were closely drawn, as though it were a house of mourning--and, indeed, dead hopes enough lay there!
The novel opens with lawyer Lester finalizing a tedious case in his office, then abruptly shifts to a personal errand: his senior partner, Mr. Royce, departs for Elizabeth to meet an old Yale friend, Burr Curtiss. The narrative quickly immerses readers in a world of legal paperwork, train schedules, and club acquaintances—details that ground the mystery in a specific professional and social milieu. The excerpts show a story told in first person, with Lester as the observing narrator, and the action soon moves to a dark house, a shadowy figure, and a revolver aimed at the protagonist. The catalog subjects label it a detective and love story, but the excerpts emphasize suspense and procedural puzzle-solving over romance.
Narrative Voice and Legal Framework
The story is narrated by Lester, a lawyer who describes himself as part of an office force “heartily tired” of a case. His tone is measured and analytical, even when recounting a late-night confrontation. The legal setting is not mere backdrop: the plot advances through depositions, telegrams, and reasoned deductions. Lester’s internal monologue—questioning whether a woman “had foreseen that we would trace it”—reveals a mind trained to weigh evidence. The excerpts contain no courtroom scenes, but the investigative method mirrors legal practice: gathering facts, testing hypotheses, and awaiting corroboration.
Setting and Atmosphere in the Excerpts
The action unfolds in two primary locations: a New York law office and the Lawrence property in Elizabeth. The office is described with specific details—pigeon-holes, papers, a clock—while the Elizabeth house is “dark and gloomy,” with a balcony and a path through a grove. The narrator makes a “careful circuit of the place” and watches from behind a tree. These details create a tangible sense of place. The time is evening, with arc lights casting a “grey background.” The atmosphere is tense but not gothic; the mystery is grounded in observable phenomena like a missing message and a locked house.
The Role of Telegrams and Misleading Clues
Communication is central to the plot. A telegram summons Lester to Elizabeth, but upon arrival he finds no message at the hotel. He speculates that a woman may have written a note on steamer paper “for the purpose of deceiving us.” The excerpts show characters interpreting and misinterpreting written messages. The narrator admits he “had really only half-believed” a sighting of the woman on a ship. This pattern of partial information and false leads is established early: the telegram is vague, the rendezvous is unstated, and the narrator must deduce where to go. The mystery thus hinges on the reliability of written and verbal clues.
Readers should attend to how the narrator’s legal training shapes his investigation: he collects statements, checks alibis, and questions motives. The excerpts offer no resolution, only a series of puzzles—a missing bride, a cryptic telegram, a woman with a revolver. The story rewards attention to small details, such as the timing of trains and the layout of the Lawrence property. The romance hinted at in the catalog subjects is not evident in these passages; the focus remains on detection and suspense.
I’ve shelved them side by side for years now—my old Lester mystery, its telegram and midnight pistol, and The Scouts of the Valley — Inside the Classic. One’s all drawn curtains and gaslight, the other open campfires. But both share a patient confidence that the truth hides in plain details. They whisper to each other sometimes, I think, about waiting for a careful reader.
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