Two Little Knights of Kentucky — Background and Themes

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Johnston, Annie F. (Annie Fellows), 1863-1931, Barry, Etheldred B. (Etheldred Breeze), 1870-1967 [Illustrator] Project Gutenberg 2004 Not confirmed
Kentucky -- Juvenile fiction; Generosity -- Juvenile fiction; Knights and knighthood -- Juvenile fiction Readers of public-domain and historical texts
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Edition facts

Words 35,333
Reading time 154 min
Text sections 5

This digital edition of Two Little Knights of Kentucky — Background and Themes is described by source-level measurements including 35,333 words, 2 hr 34 min estimated reading time, and 5 detected text sections.

The text analysis averages about 18.1 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 “Kentucky -- Juvenile fiction,” connecting these edition facts with the source record’s subject description.

Annie Fellows Johnston's 1904 novel follows two Kentucky brothers, Malcolm and Keith MacIntyre, who, inspired by chivalric ideals, organize a benefit performance to help a disabled man. The story contrasts their privileged upbringing with acts of generosity, using vivid winter settings and theatrical tableaux to explore duty and compassion.
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I. TWO TRAMPS AND A BEAR. II. GINGER AND THE BOYS. III. THE VALENTINE PARTY. IV. A FIRE AND A PLAN. V. JONESY'S BENEFIT. VI. THE LITTLE COLONEL'S TWO RESCUES. VII. A GAME OF INDIAN. VIII. "FAIRCHANCE".

TWO LITTLE KNIGHTS OF KENTUCKY.

TWO TRAMPS AND A BEAR.

It was the coldest Saint Valentine's eve that Kentucky had known in twenty years. In Lloydsborough Valley a thin sprinkling of snow whitened the meadows, enough to show the footprints of every hungry rabbit that loped across them; but there were not many such tracks. It was so cold that the rabbits, for all their thick fur, were glad to run home and hide. Nobody cared to be out long in such weather, and except now and then, when an ice-cutter's wagon creaked up from some pond to the frozen pike, the wintry stillness was unbroken.

On the north side of the little country depot a long row of icicles hung from the eaves. Even the wind seemed to catch its breath there, and hurry on with a shiver that reached to the telegraph wires overhead. It shivered down the long stovepipe, too, inside the waiting-room. The stove had been kept red-hot all that dull gray afternoon, but the window-panes were still white with heavy frost-work.

Half an hour before the five o'clock train was due from the city, two boys came running up the railroad track with their skates in their hands. They were handsome, sturdy little fellows, so well buttoned up in their leather leggins and warm reefer overcoats that they scarcely felt the cold. Their cheeks were red as winter apples, from skating against the wind, and they were almost breathless after their long run up-hill to the depot. Racing across the platform, they bumped against the door at the same instant, burst it noisily open, and slammed it behind them with a bang that shook the entire building.

"What kind of a cyclone has struck us now?" growled the ticket agent, who was in the next room. Then he frowned, as the first noise was followed by the rasping sound of a bench being dragged out of a corner, to a place nearer the stove. It scraped the bare floor every inch of the way, with a jarring motion that made the windows rattle.

Stretching himself half-way out of his chair, the ticket agent pushed up the wooden slide of the little window far enough for him to peep into the waiting-room. Then he hastily shoved it down again.

"It's the two little chaps who came out from the city last week," he said to the station-master. "The Maclntyre boys. You'd think they own the earth from the way they dash in and take possession of things."

The station-master liked boys. He stroked his gray beard and chuckled. "Well, Meyers," he said, slowly, "when you come to think of it, their family always has owned a pretty fair slice of the earth and its good things, and those same little lads have travelled nearly all over it, although the oldest can't be more than ten. It would be a wonder if they didn't have that lordly way of making themselves at home wherever they go."

"Will they be out here all winter?" asked Meyers, who was a newcomer in Lloydsborough.

"Yes, their father and mother have gone to Florida, and left them here with their grandmother Maclntyre."

"I imagine the old lady has her hands full," said Meyers, as a sound of scuffling in the next room reached him.

"Oh, I don't know about that, now," said the station-master. "They're noisy children, to be sure, and just boiling over with mischief, but if you can find any better-mannered little gentlemen anywhere in the State when there's ladies around, I'd like you to trot 'em out. They came down to the train with their aunt this morning, Miss Allison Maclntyre, and their politeness to her was something pretty to see, I can tell you, sir."

There was a moment's pause, in which the boys could be heard laughing in the next room.

"No," said the station-master again, "I'm thinking it's not the boys who will be keeping Mrs. Maclntyre's hands full this winter, so much as that little granddaughter of hers that came here last fall,--little Virginia Dudley. You can guess what's she like from her nickname. They call her Ginger. She had always lived at some army post out West, until her father, Captain Dudley, was ordered to Cuba. He was wounded down there, and has never been entirely well since. When he found they were going to keep him there all winter, he sent for his wife last September, and there was nothing to do with Virginia but to bring her back to Kentucky to her grandmother."

From its first sentence—'It was the coldest Saint Valentine's eve that Kentucky had known in twenty years'—Annie Fellows Johnston establishes a setting that is both specific and atmospheric. The opening chapter introduces Malcolm and Keith MacIntyre, two boys who 'dash in and take possession of things' at the local depot, their energy contrasting with the frozen landscape. Johnston's diction leans on concrete details: 'leather leggins and warm reefer overcoats,' 'skates in their hands,' and a stove 'red-hot all that dull gray afternoon.' The ticket agent's grumble—'You'd think they own the earth'—foreshadows the boys' social position and their later efforts to use that privilege for others.

Winter as a Character

The cold is not merely backdrop but an active force in the narrative. Johnston describes 'a thin sprinkling of snow whitened the meadows, enough to show the footprints of every hungry rabbit that loped across them,' then notes that 'there were not many such tracks.' The wind 'seemed to catch its breath' at the depot, and icicles hang 'from the eaves.' This attention to weather creates a sensory immediacy: readers feel the chill through the boys' 'red as winter apples' cheeks and the 'rasping sound of a bench being dragged' across the floor. The cold also isolates the valley, making the boys' eventual warmth—both physical and moral—more striking.

Dialogue and Social Markers

Johnston uses dialogue to reveal character and class. The ticket agent's comment—'It's the two little chaps who came out from the city last week'—is followed by the station-master's reply: 'their family always has owned a pretty fair slice of the earth.' The boys themselves speak in eager, clipped phrases: 'That's jolly for Jonesy,' Malcolm exclaims. Their speech lacks the local drawl of the adults, marking them as outsiders. When Keith calls 'Hurry up, Malcolm,' the urgency is boyish, not brusque. Johnston avoids dialect for the main characters, reserving it for minor figures, which subtly reinforces the boys' gentility.

Theatricality and Moral Instruction

The benefit performance is the novel's centerpiece, blending entertainment with didacticism. Johnston describes the tableau of 'Beauty and the Beast' and the recitation of Lowell's 'The Vision of Sir Launfal.' The poem's lines—'He gives nothing but worthless gold / Who gives from a sense of duty'—are woven into the action. The bear's 'soldier drill' and the 'soft, low accompaniment' of the violin show Johnston's attention to staging. The audience's reaction—'children stood on tiptoe'—mirrors the intended moral awakening. The tableau of Sir Launfal sharing his crust is rendered with 'a light shone round about the place,' a moment of theatrical transcendence that Johnston treats earnestly.

Recurring Motifs of Generosity

Throughout the excerpts, generosity is framed as both duty and pleasure. The boys count ticket sales: 'ten cents a ticket would make enough... to pay his board.' Their grandmother watches 'her face beaming with pride' at Malcolm's 'noble bearing.' Johnston contrasts the boys' initial boisterousness with their later purposeful action. The leper in the tableau 'seemed the one blot on the summer morn,' a line that echoes the boys' own potential for indifference. By having them perform the story of Sir Launfal, Johnston literalizes the chivalric code: the boys become knights not through combat but through charity. The 'golden cup' held aloft is both prop and symbol.

Johnston's prose is direct and unadorned, favoring action over introspection. Readers attentive to the interplay between the boys' privileged speech and the harsher world around them will find a layered portrait of Edwardian childhood. The novel's reliance on a poem for its moral climax suggests Johnston's confidence in literature as a vehicle for ethical instruction. Approach the text as a period artifact of how generosity was dramatized for young audiences.

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