The rose of old St. Louis — Text and Context

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Dillon, Mary (Mary C. Johnson), -1923, Castaigne, J. André, 1861-1929 [Illustrator], Relyea, C. M. (Charles M.), 1863-1932 [Illustrator] Project Gutenberg 2007 Not confirmed
Historical fiction; Louisiana Purchase -- Fiction; Saint Louis (Mo.) -- Fiction Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 129,817
Reading time 565 min
Text sections 12

This digital edition of The rose of old St. Louis — Text and Context is described by source-level measurements including 129,817 words, 9 hr 25 min estimated reading time, and 12 detected text sections.

The text analysis averages about 23.8 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 “Historical fiction,” connecting these edition facts with the source record’s subject description.

An editorial note examining Mary Dillon's authorial choices in diction, dialogue, and description within her 1904 historical novel set in St. Louis during the Louisiana Purchase era, based on excerpts from the Project Gutenberg edition.
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e were six of the young maidens, and all but two of them were in ball costume; flowered silks, and arms and shoulders gleaming white through fine lace, powdered hair, and patches and paint, they might have stepped out of a Philadelphia ball-room, I thought, and was astonished at the thought. I had not expected to find court beauties on the frontier, yet the Chouteaus, the Gratiots, and the Papins were names I had often heard in my own home as men of wealth and vast emprise.

The six girls were chatting gaily in French, and I was so absorbed in my contemplation of them that I did not at first consider the strangeness of their appearance in that costume so early in the morning. When it did occur to me, I concluded the four must have come over from St. Louis to attend the ball and had no other dress to return in, and the other two were doubtless Mr. Gratiot's daughters, which I learned afterward was the true explanation.

But now bethinking me it was high time to make my descent, and running quickly over in my mind the way to make it most effective,--for I wished to bear myself bravely before the young maidens,--I determined to place my left hand on the hilt of my sword, to hold my hat, which also bore a sweeping plume, in my right hand pressed close to my heart, and with head held high and borne a little backward, to descend with the stately minuet step. I flattered myself that with such a manner as I felt sure I could assume those saucy maidens would forget my rosy cheeks and my curls and think only of my air of _grand seigneur_.

I glanced down to see that my costume was all right, and now I was glad that my doeskins fitted so perfectly, even if they were hard to get into in a hurry, that my high moccasins were so beautifully and elaborately beaded in purple and yellow, with broad slashes of fringe falling from the tops of them, and that my leathern doublet sat so well, as my peep into the mirror had convinced me it did.

As I started down, feeling well satisfied with my costume, yet trembling inwardly at the thought of the array of bright eyes I was to encounter, my glance fell on an untied lacing at one knee. I stooped to retie it, and at that moment heard what seemed to me the sweetest voice I had ever listened to, call:

"À moi, Leon, à moi," followed by a clear, soft whistle.

I was still clumsily fumbling with my lacers (my fingers have ever been all thumbs when there is any dainty task to be performed) when I heard a rush of soft, padded feet, and down the corridor behind me, in response to that clear whistle, bounded a great dog. Through the arch that my bent limbs made in stooping he saw the glow of the firelight from below and made straight for it. But alas! the arch was narrower than he thought, and dog and man went rolling and tumbling down the staircase, bumping and bounding from stair to stair, a wild mêlée of doeskin legs and shaggy paws and clanging sword and wildly brandished arms, making vain clutches at the air to stay the headlong descent.

Deep-mouthed yelps voiced the terror of the dog at this unexpected Sindbad who refused to be shaken off. No words could voice the overwhelming shame of the man at this unmannerly presentation of himself before a group of young maidens, when so dignified an entrance had been planned.

As we struck the polished walnut of the hall floor, I disentangled myself and sprang to my feet, where I stood, scarlet with shame, head drooping, a pitiable object indeed. There had been an amazed, and perhaps on the maidens' side a terrified, silence during our noisy descent. Now from the maidens there arose first a suppressed giggle and then an irresistible peal of laughter, joined to the hearty guffaws of the men. My shame was fast giving place to rising wrath, in no degree appeased by the consciousness of the spectacle I presented. The dog, a magnificent mastiff, by that time recovering from his confusion, and feeling as keenly as I, no doubt, the derogation of his dignity, and, with a dog's unreason, regarding me as the agent of his humiliation when I was in fact the victim of his own stupidity, sprang at me with a vicious growl.

Mary Dillon's The Rose of Old St. Louis (1904) opens with a first-person narrator who announces himself with theatrical directness: “I Make my Bow in Cahokia.” The chapter titles, many beginning with “I,” signal a personal, almost memoiristic voice. The narrator’s language is courtly and self-aware, as when he notes “a dark-eyed maiden from France was in my mind at the moment as far more beautiful.” This blend of romantic sensibility and historical reportage characterizes Dillon’s approach throughout the excerpts.

Diction and the Narrator’s Voice

The narrator’s diction oscillates between formal politeness and colloquial ease. He addresses Mr. Lewis with “I am much indebted to you, sir,” yet later describes Bandy Jim’s “Howdy, marsa!” as a welcome from “an old friend.” This contrast establishes a social range: the narrator moves comfortably among statesmen and servants. His internal monologue is laced with romantic hyperbole—“a fond fancy that pictured her image in every dark-eyed maiden”—which suggests a sensibility shaped by novels as much as by events. Dillon uses this voice to filter historical scenes through a subjective, often sentimental lens.

Dialogue as Historical Record

Dillon incorporates verbatim speeches from congressional debates, as she states in her foreword. In the excerpt, the narrator hears a speaker declare: “What, in the meantime, will become of your Southern and Western States?” The dialogue is presented without attribution tags, blending into the narrator’s report. This technique gives the historical material a dramatic immediacy, but also risks flattening character voices into documentary recitation. The narrator’s reaction—losing focus, “lost in an abstracted reverie”—shows Dillon prioritizing romantic plot over political detail, a choice that shapes the novel’s pacing.

Descriptive Set Pieces and Period Detail

Dillon’s descriptions are dense with period-specific objects: the “Turkish turban of white satin and velvet, with a jeweled crescent” worn by Mistress Madison, or the “rough and broken path down Capitol Hill” navigated on horseback. These details serve as authenticating markers, grounding the fiction in documented material culture. The narrator’s eye lingers on fashion and architecture, often comparing them to St. Louis customs (“the head-dresses of the Frenchwomen in St. Louis, while in some respects quite as remarkable, bore not the slightest resemblance”). This comparative gaze reinforces the novel’s central tension between Creole and Anglo-American worlds.

Recurring Motifs and Structural Patterns

Several motifs recur across the excerpts: the mysterious dark-eyed woman, the hurried departure from a public event, and the use of chapter titles as plot summaries. The narrator’s fixation on a “figure in black” who “rose from her seat” and vanishes echoes earlier scenes of romantic pursuit. Dillon structures these moments as set pieces—a debate, a ball, a coach ride—each introduced by a chapter title that promises action. The pattern suggests a serialized origin, with each chapter functioning as a discrete episode. The narrator’s voice remains consistent, but the historical interludes (like the debate) sometimes stall the romantic momentum.

Readers attentive to authorial craft will notice how Dillon balances two competing impulses: fidelity to historical record and the conventions of romantic fiction. Her narrator’s voice—at once gallant and distractible—serves as a bridge between these modes. The excerpts suggest that The Rose of Old St. Louis rewards those who read for period texture and narrative voice, rather than for tightly plotted historical drama.

Reading Mary Dillon’s careful, almost tender diction in The Rose of Old St. Louis, I found myself thinking how rarely we pause over the quiet choices a writer makes with dialogue. It reminded me, oddly, of the restraint in I Will Maintain — Text and Context. Old books hold their authors’ manners so gently, like letters we were never meant to open.

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