Dick Merriwell Abroad; Or, The Ban of the Terrible Ten — Reading Notes
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The source record for Dick Merriwell Abroad; Or, The Ban of the Terrible Ten — Reading Notes measures this digital text at 70,689 words, 5 hr 8 min estimated reading time, and 7 detected text sections.
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THE STORY OF QUEEN MARY.
“Well, here we are, boys, in Scotland, the land of feuds, of clans, of Wallace, Bruce, Scott, Burns, and of limitless thrilling stories and legends.”
Professor Zenas Gunn was the speaker. With Dick Merriwell and Brad Buckhart, Merriwell’s friend and former roommate at the Fardale Military Academy, as his traveling companions, he had landed at Leith the previous day, having come by steamer from London. The three were now in Edinburgh, strolling down High Street on their way to visit Holyrood Castle.
It was nipping cold. There had been a light fall of snow; but the sun was shining, and the clear air, in strong contrast to the heavy, smoky atmosphere of London, gave them a feeling of lightness and exhilaration.
Perhaps it is not quite true to say it gave them all such a feeling, for there was an expression of disappointment on the face of the boy from Texas, a slight cloud of gloom that nothing seemed to dispel.
The old professor, however, was in high spirits.
“While we’re here, boys,” he said, “we’ll visit as many of the interesting places as possible. Already we have seen Scott’s monument, and to-morrow we will make an excursion to Melrose, and visit Melrose Abbey and Abbotsford. Later on, perhaps, we’ll run over to Loch Lomond and see Rob Roy’s prison and the cottage where Helen MacGregor, Rob Roy’s wife, was born. At Stirling we’ll feast our eyes on the Wallace Monument, which stands on the spot where the great hero defeated England’s army of invasion. Think what it will mean to stand on the field of Bannockburn!
“The English army, my boys, numbered one hundred thousand, while the Scots were less than forty thousand. But Scotland had not forgotten the terrible death of Wallace, who had been captured, carried to London, condemned to die, hanged, cut down while yet alive, to have portions of his body burned, and at last to be decapitated, his head being afterward placed on a pole on London Bridge. The Scottish army of forty thousand was led by the successor and avenger of Wallace, Robert Bruce, who achieved the marvelous object of driving the invaders from the country, fighting on until nowhere did an English foot crush the heather of Scotland.
“Ah! boys, these tales of heroism are the things to stir one’s blood, and make him feel that he might do great, and noble, and heroic things should the opportunity present itself. But in these prosaic, modern times men have little chance to become heroes. Now I feel that I, Zenas Gunn—had I been given the opportunity—might have become a great leader, a great hero, and my name might have lived in history. I’ve always regretted the fact that I was born too late to take part in any of the great struggles for human liberty. I am naturally a fighter. I think that old rascal, Barnaby Gooch, found out that I possessed the courage of a lion and the ability to fight like blazes. When we return to Fardale, boys, he’ll find out something else, I promise you that. Yes, sir, he’ll find out that he’s not the whole thing at that academy.”
“I hope so,” muttered Brad. “I certain hope he’ll get all that’s coming to him.”
“Leave it to me,” nodded Zenas. “I’ll attend to that in due time. In the meantime, boys, we’ll travel and enjoy the things we see while we are educating ourselves at the same time. Ha! there is Holyrood Palace, once the home of that loveliest of women, Mary, Queen of Scots. And there is the chapel in which she was married to Lord Darnley.”
The grim old castle stood before them, its turrets and towers rising against the bleak mountain background in impressive grandeur. There was snow on the mountains, and this made the outlines of the castle stand out sharply and distinctly.
The story opens in Edinburgh, where Professor Zenas Gunn delivers a buoyant lecture on Scottish history—Wallace, Bruce, Scott, Burns—while his young companion Brad Buckhart wears “an expression of disappointment” and “a slight cloud of gloom.” This early contrast between the professor’s eager backward-looking and Brad’s silent discontent sets a pattern: the narrative repeatedly pairs scenic, educational travel with undercurrents of unease. The party’s visit to Holyrood Castle and planned excursions to Melrose, Loch Lomond, and Bannockburn are framed as a tour of romantic landmarks, but the text’s real energy lies in moments when that tour is interrupted.
Later, in Venice, the same tension sharpens. The gondolier Reggio, chosen by Dick for his “honor and sincerity,” suddenly veers into dark canals, his face “pale and set,” his eyes “glowing with strange terror.” The professor and Brad suspect madness or robbery, but Dick insists on trust. The excerpt offers no resolution—only a chase through narrow waterways, moonlight, and the sense of something unseen pursuing them.
Contrasting Voices: The Professor’s Lecture vs. Silent Dread
The professor’s speech is a catalogue of heroic names and sites: “the Wallace Monument, which stands on the spot where the great hero defeated England’s army of invasion.” His enthusiasm is almost theatrical, punctuated by “Hum! ha! Ha! hum!” Yet the narrative undercuts this with Brad’s “cloud of gloom” and Dick’s quiet observation of Reggio’s agitation. The professor himself later admits he is “inclined to look backward instead of forward,” a confession that aligns him with the very historical nostalgia he celebrates. Meanwhile, the gondolier’s terror is entirely present-tense, wordless, and physical. The text thus sets two modes of experiencing place against each other: one verbal, historical, and backward-looking; the other silent, immediate, and fearful.
The Gondolier’s Flight: Trust, Suspicion, and Unseen Peril
Reggio’s behavior in Venice is the story’s most vivid set piece. He “seemed fleeing before something of which he was in mortal terror,” yet neither Dick nor the reader sees what he fears. The narrative withholds the threat, focusing instead on the reactions of the three travelers. Brad calls Reggio “bughouse” and “luny”; the professor mutters about “banded thieves”; but Dick insists on the gondolier’s trustworthiness, having chosen him for “honor and sincerity.” This disagreement among the party—between rational suspicion and intuitive trust—mirrors a broader pattern in the excerpts: characters interpret ambiguous events through their own predispositions. The chase through “very dark and very narrow” canals, the rhythmic sway of Reggio’s body, and the final glide back onto the Grand Canal create a sequence of mounting tension that is never explained within the provided text.
Setting as Stage: Scotland’s Clear Air and Venice’s Dark Passages
The two settings are sharply opposed. Edinburgh is described with “nipping cold,” a “light fall of snow,” and “clear air” that contrasts with London’s “heavy, smoky atmosphere.” The professor’s itinerary is full of open, named places: Scott’s monument, Melrose Abbey, Loch Lomond, Stirling. Venice, by contrast, is a labyrinth of “dark and very narrow” canals, where the party moves in shadow and moonlight, avoiding other gondolas. The open, historical landscape of Scotland gives way to the enclosed, secretive waterways of Venice. This shift from broad vistas to constricted passages mirrors the story’s move from public, educational travel to private, unexplained danger. The physical environment itself becomes a source of tension: the narrow canal is a trap, the moonlight a revealing but unreliable light.
Readers should attend to the way the narrative builds suspense through what it does not explain. The gondolier’s terror, the “Terrible Ten” of the title, and the hints of a secret society are introduced but left unresolved in these excerpts. The story’s pleasure lies less in the historical digressions than in the moments when those digressions are broken by sudden, unexplained action. Pay particular attention to the characters’ differing ways of reading the world: the professor through books, Brad through suspicion, Dick through trust in faces.
Reading about Dick’s unease beneath Venice’s painted canals, I felt that familiar tug toward another story where quiet tension hums under everyday life. There’s something about a threat that stays half-hidden—a whisper rather than a shout—that lingers long after the page turns. It reminded me of The Silent Alarm — A Closer Reading, where the stillness itself seems to hold its breath.
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