Some honeymoon! — Reading Companion
Edition facts
The catalog record for Some honeymoon! — Reading Companion provides practical reading context through 57,571 words, 4 hr 11 min estimated reading time, and 6 detected text sections.
The text analysis averages about 12.7 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 “Man-woman relationships -- 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
Ryder had been in the chase after the nimble dollar since he was breeched. He was a self-made man, and although he was proud of that fact he did not go around blowing about the quality of the product.
People could take him for what he was--or what they thought he was. He was not personally assertive, although he fully knew his own opinion upon any subject to which he had given thought. He did not consider it necessary to tell every person who interviewed him, or show them by his manner, that he was really too busy with weighty affairs to give their own little matter its proper attention. He seldom cared what people thought of him as long as he impressed them with his honesty of purpose, and that he was in earnest.
That is, he had seldom cared until now. But he confessed to himself, in the secrecy of his inner thoughts and the privacy of his stateroom, that he was desirous of having at least one person aboard the _Minnequago_ think of him as being every whit as good as he really was, if not a little better.
When a man's hard hit, that is about his first thought. He wants the woman to think of him as the finest and best who has ever crossed her path. And before bumping into Miss Mont as he boarded the ship, he had actually never looked twice at a woman.
She was a good sailor, and he had crossed back and forth so many times that he was only seasick when the Old Salt in the story was ill--on the occasion "that the ship went down and all hands were lost."
Ryder accepted his fate manfully on that very first time that they paced the deck together. It was not easy for Ryder to admit that he had met and fallen in love with a woman at first sight. It was opposed to all his well-established theories. At his age he considered himself case-proof.
Yet never had a woman impressed him as did Miss Mont. When they became so quickly such very good friends and she showed plainly that she enjoyed his society, and even took him into her confidence with little urging on his part, Ryder began to see that he would be tempting Providence if he went ashore at New York without letting her know just how he felt toward her.
He had nobody to consider in this matter but himself; he had no family. Miss Mont, she said, was in a similar situation.
She had been adopted by people in Manchester when she was a small child and had lived with them as their daughter until these foster parents died.
Other children had come into the family after her adoption, and they did not look kindly upon the alien. So Miss Mont had come away.
"I do not know much about my own people," she told Ryder. "Only that my mother and father are both dead. There were several of us children. We were parceled out like a brood of puppies. I know nothing now about my brothers and sisters."
So she had nobody to consider; there was no living soul to say her nay, no matter what course she took in life. To John Ryder's disappointment he found that she was on the verge of choosing a profession for which he had a strongly rooted, if narrow, dislike. Miss Mont had met some theatrical people in London. There was, indeed, a certain agent, or manager, aboard the _Minnequago_ to whom she had been introduced.
This man had told her that he could put her on the stage. She had the presence for it, and if her ability proved anywhere equal--well, his talk had inspired her with the fever for a stage career. She had done a little in a semi-professional way in London as an entertainer, and this man, Sam Marks, had chanced to see her work.
"And you know I need to work," she told John Ryder. "My bit of money won't last forever. I should dislike teaching, and I couldn't work in a shop, I know. I have a retentive memory, and I believe I should 'make good' as you Americans say, as an imitator. I really have some talent."
"You do not know what you contemplate," cried Ryder, and he was a little angry. "The theater is no place for a domestic, home-loving woman like you."
"But it will bring me more money than other work."
"It brings you a lot besides the money. It spoils a woman. It spoils a man, too, for that matter. And it is the hardest work a woman can tackle."
"Some actresses draw large salaries."
John Ryder, a bachelor of thirty-five who has never counted his winters, steps onto the deck of the Minnequago and immediately collides with a lady who turns a careless shoulder. The narrator notes that Ryder, a self-made businessman proud of his product, does not go around blowing about its quality. This wry, understated voice sets the tone for a story that treats romantic entanglement as a disruption of orderly business. The opening chapter, titled “The Man of Business,” establishes Ryder as a man who believes marriage begins the counting of wintry years—a belief the novel will test.
A Businessman’s Fate on the Deck
The first excerpt introduces John Ryder through his own habits and the narrator’s dry commentary. He is a man who has chased the nimble dollar since breeched, and he does not consider it necessary to tell every person that he is too busy for their little matter. The collision with the lady is presented as an accident of fate: he walks to his fate, comes face to face with it, and politely lifts his hat. The narrator’s voice is knowing but not sentimental, hinting that Ryder’s self-image as a practical man will be undone by the very encounter he dismisses as a mere pardon me.
The Bridegroom’s Eviction and the Crowd’s Wit
Later, Ryder finds himself turned out of house and home, as he puts it, and the crowd responds with jests: Ho, ho! And you a newly married man! The scene in the hotel office shows Ryder as the host of a private bottle, but he is not deeply interested in the witticisms. A clerk named Jimson and others compare his plight to their own domestic burdens—an invalid wife, a heavyweight lady. The dialogue is brisk and colloquial, with characters speaking in short, tagged lines. Ryder’s grim remark, There seems nothing much pressing on my time just now, underscores his helplessness and the farcical inversion of his usual business control.
White’s Strange Interrogation
John B. White, a man with eyes that burn strangely and a stifled tone, draws Ryder aside. He speaks gaspingly, as though something interfered with his breathing, and Ryder wonders if he is quite right in his mind. White claims he came down expecting to intercept friends, and that Ryder’s wife looks like someone he knows. The conversation is tense and disjointed: White ignores Ryder’s direct questions, murmurs about having been away so long, and startles at the news that the Ryders were married only yesterday. Ryder internally concludes that White has slipped his trolley, but the reader may suspect White knows more than he reveals.
The Honeymoon That Wasn’t Planned
White presses Ryder about the honeymoon: I suppose you and Mrs. Ryder had looked forward to a very different sort of a honeymoon? Ryder admits they were neither of them thinking of honeymoons when they embarked on the Minnequago. The man starts at this, and the excerpt ends with White’s intense interest in the ship’s name. The repetition of the ship’s name—the same vessel where Ryder first collided with the lady—suggests a connection between the opening encounter and the present confusion. The narrative leaves the reader with a puzzle: who is the woman Ryder married, and what does White know about her?
The excerpts present a comedy of errors rooted in mistaken identity and a protagonist who treats marriage as an interruption of business. Readers should pay attention to the recurring ship name and the timing of events: the wedding occurs just before the hotel disaster, and White’s arrival seems too coincidental. The story’s humor depends on Ryder’s bafflement and the gap between his businesslike self-image and the chaos around him. The title’s exclamation mark signals that the honeymoon will be anything but conventional.
Years shelving romps of mistaken identity, I’ve watched Ryder’s chaos find its quieter echo in Hearts in exile — Edition Insights, where love wears longing instead of laughter. Both whisper that we rarely know the stranger beside us, even on a honeymoon-train. A tender, familiar ache, that. Hearts in exile — Edition Insights sits on my shelf like an old friend’s sigh.
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