Cord and Creese — Text and Context
Edition facts
The source record for Cord and Creese — Text and Context measures this digital text at 175,546 words, 12 hr 44 min estimated reading time, and 22 detected text sections.
The text analysis averages about 13.2 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 “Adventure stories,” 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
THE LETTER FROM BEYOND THE SEA.
On the morning of July 21, 1840, the _Daily News_ announced the arrival of the ship _Rival_ at Sydney, New South Wales. As ocean steam navigation had not yet extended so far, the advent of this ship with the English mail created the usual excitement. An eager crowd beset the post-office, waiting for the delivery of the mail; and little knots at the street corners were busily discussing the latest hints at news which had been gathered from papers brought ashore by the officers or passengers.
At the lower end of King Street was a large warehouse, with an office at the upper extremity, over which was a new sign, which showed with newly gilded letters the words:
The general appearance of the warehouse showed that Messrs. Compton and Brandon were probably commission merchants, general agents, or something of that sort.
On the morning mentioned two men were in the inner office of this warehouse. One was an elderly gentleman, with a kind, benevolent aspect, the senior partner of the firm. The other was the junior partner, and in every respect presented a marked contrast to his companion.
He had a face of rather unusual appearance, and an air which in England is usually considered foreign. His features were regular--a straight nose, wide brow, thin lips, and square, massive chin. His complexion was olive, and his eyes were of a dark hazel color, with a peculiarity about them which is not usually seen in the eye of the Teutonic or Celtic race, but is sometimes found among the people of the south of Europe, or in the East. It is difficult to find a name for this peculiarity. It may be seen sometimes in the gipsy; sometimes in the more successful among those who call themselves “spiritual mediums,” or among the more powerful mesmerizers. Such an eye belonged to Napoleon Bonaparte, whose glance at times could make the boldest and greatest among his marshals quail. What is it? Magnetism? Or the revelation of the soul? Or what?
In this man there were other things which gave him the look of the great Napoleon. The contour of feature was the same: and on his brow, broad and massive, there might be seen those grand shadows with which French artists love to glorify the Emperor. Yet in addition to this he had that same serene immobility of countenance which characterized the other, which could serve as an impenetrable mask to hide even the intensest person.
There was also about this man a certain aristocratic air and grace of attitude, or of manner, which seemed to show lofty birth and gentle breeding, the mysterious index to good blood or high training. How such a man could have happened to fill the position of junior partner in a commission business was certainly a problem not easily solved. There he was, however, a man in appearance out of place, yet in reality able to fill that place with success; a man, in fact, whose resolute will enabled him to enforce success in any calling of life to which either outside circumstances or his own personal desires might invite him.
“The mail ought to be open by this time,” said Brandon, indifferently, looking at his watch. “I am somewhat curious to see how things are looking. I noticed quotations of wool rather higher than by last mail. If the papers are correct which I saw then we ought to do very well by that last cargo.”
“Well, Brandon,” said he, “if it is so it will show that you are right. You anticipated a rise about this time, you know. You certainly have a remarkable forecast about the chances of business.”
“I don’t think there is much forecast,” said Brandon, with a smile. “It was only the most ordinary calculation made from the well-known fact that the exportation this year had been slight. But there comes Hedley now,” he continued, moving his head a little to one side so as to look up the street. “The letters will soon show us all.”
Mr. Compton looked out in the direction which Brandon indicated and saw the clerk approaching. He then settled himself back in his chair, put his hands in his pockets, threw one leg over the other, and began whistling a tune with the air of a man who was so entirely prosperous and contented that no news whether good or evil could greatly affect his fortunes.
In a short time the clerk entered the inner office and, laying the letters down upon the table nearest Mr. Compton, he withdrew.
The novel opens with a precise date—July 21, 1840—and the arrival of the ship Rival at Sydney, anchoring the story in a specific historical moment before steam navigation reached Australia. From the first chapter, De Mille establishes a world of commercial enterprise: the warehouse of Compton & Brandon, with its newly gilded sign, signals that trade and inheritance will drive the plot. Yet the title itself—Cord and Creese—hints at dual instruments: a rope for binding or hanging, a dagger for cutting or stabbing. This pairing of restraint and violence recurs throughout the excerpts, most strikingly when Brandon discovers his ancestor's skeleton chained to a chair aboard a sunken ship, bound rather than drowned freely. The contrast between the mundane signboard and the macabre underwater scene sets up the novel's central tension between respectable commerce and buried secrets.
The Skeleton and the Trapdoor
The most vivid excerpt describes Brandon's descent into the sunken ship, where he finds a skeleton fastened to an oaken chair by a chain. De Mille writes that Brandon took the skeleton 'reverently' and tried to lift it, but could not—the chain held it in place. This image of a corpse deliberately bound to a seat, rather than simply drowned, raises questions about mutiny, Spanish revenge, or a deliberate act of guardianship. The narrator offers several possibilities: 'Had the crew mutinied, bound the captain, and run? Had the Spaniards seized the ship after all?' But the text refuses to settle on one explanation. Instead, Brandon's search leads him to stand on the very spot where the chair had been, and the floor gives way beneath him—a trapdoor. The skeleton had been positioned directly over the hidden opening, suggesting that old Ralph Brandon's final act was to guard the treasure by anchoring himself to the secret entrance. The chain thus becomes a symbol of obsessive inheritance, binding the dead to the living across generations.
Frenzy and Calculation
Brandon's emotional state oscillates between feverish excitement and deliberate calm. When he first fails to find treasure, he experiences 'excitement that was now a frenzy,' and contemplates spending years dismantling the ship 'piecemeal over the bottom of the sea.' Yet immediately afterward, he forces himself to think rationally: 'Let me be calm,' he says, and resolves to 'cast away hope' and search without expectation. This internal conflict—between impulsive obsession and methodical reasoning—drives the scene forward. De Mille presents Brandon's thoughts in short, urgent sentences: 'Where was the treasure? Where? Why could not that figure arise and show him?' The prose itself mimics the character's racing mind. But the trapdoor discovery rewards his persistence, suggesting that the novel values both emotional drive and practical cunning. The pattern of frenzy followed by calculation may recur throughout the book, as characters navigate physical dangers and financial schemes.
Letters, Journals, and Hidden Knowledge
The table of contents reveals a structure built on documents: 'The Letter from Beyond the Sea,' 'Manuscript Found in a Bottle,' 'Journal of Paolo Langhetti,' 'Beatrice's Journal.' These embedded texts suggest that the story unfolds through multiple perspectives and incomplete records. The opening chapter's letter initiates the quest, while later journals presumably fill in gaps or contradict earlier accounts. The excerpt from Brandon's underwater search is told in third person, but the presence of first-person narratives implies that readers must piece together the truth from competing voices. Notably, the chapter 'The Dead Alive' and 'The Secret' hint at revelations that may overturn earlier assumptions. This documentary technique creates a layered mystery where no single narrator holds all the answers. Readers are invited to weigh evidence from letters, journals, and reported speech, much as Brandon must interpret the skeleton's position and the trapdoor's meaning.
Readers should attend to the novel's use of physical objects—the chain, the trapdoor, the gilded sign—as clues to character and plot. De Mille often lets settings and props carry symbolic weight without explicit commentary. The contrast between Sydney's mercantile bustle and the silent wreck beneath the waves may also reflect a broader tension between surface respectability and hidden corruption. As the story moves between continents and social spheres, the cord and crease of the title might reappear in unexpected forms.
That drowned ancestor’s summons in Cord and Creese stayed with me long after the final page—the weight of secrets carried through water. It reminded me of the quiet unease in The Masked Bridal — Themes and Context, where hidden identities press gently against the surface, much like the trapdoor’s treasure, half-glimpsed and patient. Some stories simply leave that taste behind.
There are no reviews for this eBook.
Your personal reading reflection
Build a private reading journal entry for this title.