The Quest of the 'Golden Hope': A Seventeenth Century Story of Adventure — Themes and Context

(0 User reviews)   1592
Westerman, Percy F. (Percy Francis), 1876-1959, Wiles, Frank, 1881-1963 [Illustrator] Project Gutenberg 2011 Not confirmed
Sea stories; Adventure stories; Pirates -- Juvenile fiction; Great Britain -- History -- James II, 1685-1688 -- Juvenile fiction Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 59,906
Reading time 261 min
Text sections 7

The source record for The Quest of the 'Golden Hope': A Seventeenth Century Story of Adventure — Themes and Context measures this digital text at 59,906 words, 4 hr 21 min estimated reading time, and 7 detected text sections.

The text analysis averages about 21.3 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 “Sea stories,” connecting these edition facts with the source record’s subject description.

Percy F. Westerman's 1917 adventure novel follows young Master Hammond from Sedgemoor to a treasure hunt aboard the Golden Hope, with vivid battle sequences and a first-person narrative that shifts between breathless action and reflective interludes.
Share
Editorial Edition Score 4.7/5

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.

Edition quality

Read the Text

Little did I think, living on the borders of the New Forest, that the outbreak in the West would affect the welfare of our house. Yet it did, though, I must confess, indirectly; for had it not been for the routing of the rebels at Sedgemoor, the voyage of the _Golden Hope_ would not have been undertaken, nor would I be able to relate the desperate adventures of her crew in gaining the object of the expedition. But I am forestalling my story.

Our family, the Hammonds of Brockenhurst, had lived within the bounds of the Forest for centuries, as witness the name of Geoffroi Hammond, who served with distinction at the taking of the _Great Christopher_ in the sea-fight of Sluys; or of Thomas Hammond, who fought at Agincourt: but I would make it plain that the Hammonds of Brockenhurst have no connection with the rebel Colonel Hammond--though, to his credit be it said, he treated His Majesty King Charles the Martyr, during his captivity in the Isle of Wight, with far more courtesy than did his brother officers.

My father, Captain Richard Hammond--"Foul-weather Dick", as he was affectionately dubbed in the fleet--had had an adventurous career both ashore and afloat. Beginning with the fatal fight at Naseby when he was but a young cornet of horse of barely twenty years of age, he had fought Dutch, Algerines, and, sad to relate, his fellow-countrymen; but for the last ten years he had retired from the King's service, and had settled down to a quiet country life in his native Hampshire.

Thanks to his father's devotion to his sovereign, the exchequer of the Hammond family had been sadly depleted. During the ever-to-be-abhorred Rebellion, plate, jewels, money, all went, and 'twas fortunate that our lands had not been confiscated by the Commonwealth. My father had to rely upon the unkept promises of His Majesty King Charles II as a reward for the sacrifices of our house towards the royal cause; nevertheless, the meagre pay of a sea captain in the King's fleet, together with the income from the shore estate, sufficed to keep us in comparative ease.

My father married late in life. His spouse, the daughter of Sir Digby Tall (a baronet as impecunious as the majority of his class at this time), died within three years of their union, leaving two children.

At the time my story opens I, Clifford Hammond, was sixteen years of age, my sister Constance being eighteen months my junior. She was a tall, sprightly girl, with fresh complexion, blue eyes, and rich golden hair, being, 'twas said, the image of her mother in her youth.

No one would readily have taken Constance and me for sister and brother, for I was olive-featured, with straight, dark-brown hair and grey eyes; tall in stature, yet inclined to slenderness.

On the particular morning to which I have referred, Constance and I had gone into Lyndhurst to give orders to a carrier respecting the purchase of a certain article at Southampton. What the nature of the purchase was we did not at the time know, although every month, summer and winter, year in and year out, my father had a similar package brought in by the regular carrier. Here I may mention that my sire, in spite of his sixty odd years, was a wonderfully well-preserved man, his dark-brown locks (for he scorned to wear a peruke) being innocent of any trace of grey hairs. Yet I call to mind the occasion, when I was yet a child of tender years, upon which my father had perforce to attend the Verderers' Court at Lyndhurst with his hair of a rusty, iron-grey hue. That was about the time that Giles Shearing's wain was upset at Redbridge, and many a housewife in Lyndhurst and Brockenhurst who relied on the Southampton carrier had to go short-handed. I no longer wonder at the coincidence.

As we left Lyndhurst town on our return journey, I leading a shaggy Forest pony on which my sister, holding the required purchase, was perched, a troop of horse came riding with loose rein and hot spur through the quiet High Street.

They were fierce-looking fellows, with bronzed features, begrimed with sweat and dust; upturned moustachios, and flowing locks. They wore red frock-coats trimmed with white facings, the skirts buttoned back to enable them to sit the better in the saddle; dark-green breeches, long riding-boots of buff leather, and broad-brimmed beaver hats, looped up on one side. All were armed with a broadsword and a pair of pistols, while not a few carried snaphances in a bucket at the right side of the saddle, or slung across their backs.

The narrative voice of The Quest of the 'Golden Hope' shifts between breathless action and reflective interludes, a rhythm established from the opening chapters. The first-person narrator, Master Hammond, recounts events with a formal, slightly archaic diction—'ere', 'hark'ee', 'bid them go'—that grounds the story in its seventeenth-century setting. Yet the prose also carries a modern briskness, especially in battle scenes, where short, declarative sentences accelerate the pace: 'A hurried glance showed that the Neptune had also succeeded in beating off her attackers.' This alternation between measured exposition and rapid-fire description gives the novel a distinctive pulse, one that rewards attention to how Westerman controls tempo through sentence length and paragraph breaks.

Voice and Narrative Distance

Westerman employs a first-person narrator who is both participant and retrospective commentator. Master Hammond often steps back from immediate action to offer a summary judgment—'It seemed at this juncture that the buccaneers would succeed'—creating a double perspective: the urgency of the moment and the calm of hindsight. This technique allows the author to vary pace without sacrificing coherence. The narrator's voice remains consistent, using nautical terms ('heave roundly', 'swivel guns') and period-appropriate exclamations ('Hath the long-boat pushed off yet?'), but never becomes so archaic as to obscure meaning. The effect is a controlled intimacy: the reader sees events through Hammond's eyes, yet senses the older, wiser storyteller shaping the tale.

Pacing in Combat Sequences

The excerpted battle scene demonstrates Westerman's method for accelerating narrative tempo. He uses short, action-packed sentences—'Two more disappeared amidst a swirl of shot-torn water'—interrupted by direct commands: 'Aim carefully! Wing 'em!' The paragraph breaks often coincide with shifts in focus, from the broadside to the wounded captain to the boarding party. This fragmentation mimics the chaos of combat while maintaining clarity. Notably, Westerman slows the pace immediately after the captain is shot, inserting a moment of stillness: 'There we found that the wound, though dangerous, might not prove mortal.' This rhythmic contrast between rapid action and reflective pause is a hallmark of the novel's style, preventing the reader from becoming desensitized to violence.

Recurring Structural Motifs

Several structural patterns recur in the excerpts. One is the use of a sudden reversal—a 'chance pistol shot' or a 'treacherous' attack from a seemingly defeated enemy—that upends the momentum of a scene. Another is the motif of the 'slow match to the magazine', a warning that appears in Captain Jeremy's orders and hints at hidden dangers. These devices create a sense of precariousness, where victory is never secure. Westerman also employs a pattern of escalation: a skirmish leads to a broader engagement, which then reveals a new threat (e.g., the grounded ship, the wounded captain). This layered structure keeps the narrative moving forward while introducing fresh complications, a technique well suited to serialized adventure fiction.

Readers attuned to narrative craft will find much to observe in Westerman's handling of tempo and voice. The novel rewards attention to how the author shifts between panoramic battle descriptions and intimate character moments, and how the first-person perspective shapes the reader's trust in the narrator's reliability. The excerpts suggest a work that balances formulaic adventure elements with a more deliberate, almost cinematic sense of pacing—a quality that distinguishes it from many contemporaries in the genre.

That first-person shift—breathless one moment, strangely still the next—reminded me of an old school library afternoon, turning pages of Arsène Lupin versus Herlock Sholmes — Reading Companion. Both tales carry that quiet beat between chases, where a character notices the salt air or a ticking clock. I remember thinking how adventure novels often pause, just briefly, to let you feel the weight of the day behind you.

There are no reviews for this eBook.

0
0 out of 5 (0 User reviews )

Add a Review

Your Rating *
There are no comments for this eBook.

Reader reflection

Record your reading impressions

A brief reflection can help important ideas stay with you longer.

Your progress 0 / 10
1

What is your current status with this title?

2

Was reading this book enjoyable?

3

Is this a title you would suggest to others?

4

How easy was the book to follow?

Related eBooks