A Victor of Salamis — Key Ideas to Explore
Edition facts
The source record for A Victor of Salamis — Key Ideas to Explore measures this digital text at 129,372 words, 9 hr 23 min estimated reading time, and 24 detected text sections.
The text analysis averages about 13.6 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 “Xerxes I, King of Persia, 519 B.C.-465 B.C. or 464 B.C. -- Fiction,” connecting these edition facts with the source record’s subject description.
Calculated from edition completeness, EPUB availability, text structure and catalogue metadata. Not a user rating.
How this score is calculated
- 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.
Read the Text
y, and with eye fixed on his companion.
The pair were markedly contrasted. The younger was in his early prime, strong, well developed, and daintily dressed. His gestures were quick and eloquent. His brown beard and hair were trimmed short to reveal a clear olive face—hardly regular, but expressive and tinged with an extreme subtilty. When he laughed, in a strange, silent way, it was to reveal fine teeth, while his musical tongue ran on, never waiting for answer.
His comrade, however, answered little. He barely rose to the other’s shoulder, but he had the chest and sinews of an ox. Graces there were none. His face was a scarred ravine, half covered by scanty stubble. The forehead was low. The eyes, gray and wise, twinkled from tufted eyebrows. The long gray hair was tied about his forehead in a braid and held by a golden circlet. The “chlamys” around his hips was purple but dirty. To his companion’s glib Attic he returned only Doric monosyllables.
“Thus I have explained: if my plans prosper; if Corcyra and Syracuse send aid; if Xerxes has trouble in provisioning his army, not merely can we resist Persia, but conquer with ease. Am I too sanguine, Leonidas?”
“No doubt Xerxes will find his fleet untrustworthy. The Egyptian sailors hate the Phœnicians. Therefore we can risk a sea fight.”
“No rashness, Themistocles.”
“Yes—it is dicing against the Fates, and the stake is the freedom of Hellas. Still a battle must be risked. If we quit ourselves bravely, our names shall be remembered as long as Agamemnon’s.”
“Or Priam’s?—his Troy was sacked.”
“And you, my dear king of Sparta, will of course move heaven and earth to have your Ephors and Council somewhat more forward than of late in preparing for war? We all count on you.”
“Who can ask more? But now make an end to statecraft. We were speaking about the pentathlon and the chances of—”
Here the same brawling voices that had arrested Simonides broke upon Themistocles and Leonidas also. The cry “A fight!” was producing its inevitable result. Scores of men, and those not the most aristocratic, were running pell-mell whither so many had thronged already. In the confusion scant reverence was paid the king of Sparta and the first statesman of Athens, who were thrust unceremoniously aside and were barely witnesses of what followed.
The outcry was begun, after-report had it, by a Sicyonian bronze-dealer finding a small but valuable lamp missing from the table whereon he showed his wares. Among the dozen odd persons pressing about the booth his eye singled out a slight, handsome boy in Oriental dress; and since Syrian serving-lads were proverbially light-fingered, the Sicyonian jumped quickly at his conclusion.
“Seize the Barbarian thief!” had been his shout as he leaped and snatched the alleged culprit’s mantle. The boy escaped easily by the frailness of his dress, which tore in the merchant’s hands; but a score of bystanders seized the fugitive and dragged him back to the Sicyonian, whose order to “search!” would have been promptly obeyed; but at this instant he stumbled over the missing lamp on the ground before the table, whence probably it had fallen. The bronze-dealer was now mollified, and would willingly have released the lad, but a Spartan bystander was more zealous.
“Here’s a Barbarian thief and spy!” he began bellowing; “he dropped the lamp when he was detected! Have him to the temple and to the wardens of the games!”
The magic word “spy” let loose the tongues and passions of every man within hearing. The unfortunate lad was seized again and jostled rudely, while questions rattled over him like hailstones.
“Whose slave are you? Why here? Where’s your master? Where did you get that outlandish dress and gold-laced turban? Confess, confess,—or it’ll be whipped out of you! What villany are you up to?”
If the prisoner had understood Greek,—which was doubtful,—he could scarce have comprehended this babel. He struggled vainly; tears started to his eyes. Then he committed a blunder. Not attempting a protest, he thrust a small hand into his crimson belt and drew forth a handful of gold as bribe for release.
“A slave with ten darics!” bawled the officious Spartan, never relaxing his grip. “Hark you, friends, it’s plain as day. Dexippus of Corinth has a Syrian lad like this. The young scoundrel’s robbed his master and is running away.”
“That’s it! A runaway! To the temple with him!” chimed a dozen. The prisoner’s outcries were drowned. He would have been swept off in ungentle custody had not a strong hand intervened in his favor.
William Stearns Davis opens A Victor of Salamis with a prologue set at the Isthmian Games, immediately establishing a world where athletic prowess and civic honor intertwine. The novel's diction leans toward the formal and archaic—"Euge!" and "Peitho" appear in dialogue—while its descriptive passages favor concrete details over abstraction. A Spartan general eats "black broth" from a kettle with an iron spoon; a Persian camp is "vastly smaller and less luxurious" than expected. These choices ground the narrative in sensory specifics rather than grand pronouncements.
Dialogue as a Marker of Character and Culture
Davis differentiates his speakers through rhythm and vocabulary. When Glaucon bursts out with warnings about the betrayed mountain path, Leonidas responds with a single, unhurried "Well?" and later a terse "Why here?" The Spartan king's speech is clipped, practical, and devoid of ornament—a verbal economy that matches his "black armour" and "camp chest" surroundings. In contrast, Glaucon's pleas tumble out in torrents: "Fly, or you and all your men are trapped!" The contrast between the Athenian's fluency and the Spartan's laconic replies is not merely stylistic; it reinforces the cultural divide Davis builds throughout the narrative. Even the soldiers' reactions are rendered through action rather than exposition: they "raised a yell" and then fall silent at a spear-butt blow.
The Weight of a Name
When Leonidas asks "Who are you?" the question carries more than a request for identification. Glaucon's hesitation—"The blood leaped into the Athenian's cheeks. The tongue that had wagged so nimbly clove in his mouth"—shows that his name, once a source of pride, has become a burden. His confession, "I am Glaucon of Athens, Isthmionices!" triggers an immediate cry of "Death! Stone the traitor!" from the soldiers. Davis uses the name as a plot device that compresses backstory into a single moment. The epithet "Isthmionices" (victor at the Isthmian Games) reminds readers of the prologue's athletic glory, now tarnished by alleged treason. This technique of letting a title do the work of exposition appears elsewhere, as when characters are identified by their roles—"the deserter," "the chief"—rather than by name until the narrative chooses to reveal it.
Description That Serves Character and Setting
Davis's descriptive passages are lean and functional, often revealing character through environment. Leonidas is introduced not in a grand tent but seated on a "camp chest" eating from a "huge kettle." The detail of the "purple cloak flung over his black armour" and the "wreath of gold foil" on his helmet signals rank without interrupting the scene's domesticity. Similarly, the Spartan encampment is defined by "martial orderliness" and soldiers breakfasting on "cold boiled peas" from helmets—a detail that conveys both austerity and readiness. The Persian camp, by contrast, is described as "vastly smaller and less luxurious" than expected, subverting the reader's anticipation of Oriental opulence. These choices avoid generic battle-scene description and instead anchor the narrative in specific, telling observations.
Pacing Through Physical Action
Davis controls tension by inserting small, deliberate physical actions into moments of high emotion. When Glaucon delivers his urgent warning, Leonidas does not respond immediately; instead, he "made the iron spoon clack steadily," lifts a "huge morsel," chews it, then puts the vessel by before speaking. The spoon's clacking becomes a metronome that slows the scene, forcing both the character and the reader to wait. Later, when the soldiers cry for Glaucon's death, Leonidas "smote the man nearest to him with a spear butt" to restore silence—a violent, economical gesture that reasserts authority without a word. These physical beats punctuate the dialogue and prevent the scene from becoming purely expository. They also align with the novel's broader interest in bodily discipline: athletes, soldiers, and orators all control their movements as carefully as their speech.
Readers should attend to how Davis uses small, concrete details—a spoon, a name, a hesitation—to build character and conflict. The novel rewards attention to its verbal texture: the way a Spartan king says "Euge!" or an Athenian traitor stammers his own name. These choices, rather than grand historical set-pieces, give the story its particular weight.
That rainy afternoon, I kept thinking of Glaucon’s fear in the shadows at Salamis—how the bravest still trembled. Later, restless, I reached for something quieter and found The martyr of the catacombs — Key Ideas to Explore. Same solitude, different dark. Both men waiting, unsure if dawn meant rescue or ruin. The rain never stopped, and neither, somehow, did I.
There are no reviews for this eBook.
How will you remember this book?
Save your reaction, strongest insight, and memorable passage.