Wee Johnnie Paterson, & other humorous sketches — Story, Setting & Ideas
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For Wee Johnnie Paterson, & other humorous sketches — Story, Setting & Ideas, the stored edition analysis reports 29,460 words, 2 hr 9 min estimated reading time, and 3 detected text sections.
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Read the Text
avidson had not said anything about tea.
"There's cold meat in the pantry, and some tongue and sausages, and I'll leave word at the dairy about the cream. Oh! and the coffee is in a tin on the top of the kitchen fireplace; put in two tablespoonfuls, and boil a breakfast-cup of milk. You'll get clean underclothing in the second drawer of the wardrobe, and shirts in the drawer above, and the collars in the middle drawer of the dressing-table."
There were several more injunctions thrown away on me, for my mind was on the cooking of a steak, and I fancied I could smell fried onions.
When I came home the first night I tried to persuade myself that I rather liked the hollow, echoing sound of my footsteps in the lobby. The house had a dismal appearance; the furniture was rolled up in sheets. However, I had the consolation of being able to smoke in rooms hitherto prohibited. I could not hurt the curtains,--they were down; and I could not expectorate on the carpet,--it was up; but I could put my feet on the mantelpiece,--it was left: so were the marks of my boots. I tried to read, but the stillness of the house was oppressive, so I went to the club to get some one to speak to.
When I returned, the house seemed more deserted than before. I wasn't afraid to sleep in the house by myself, but, just for the fun of the thing, I looked under the beds, but there was no one there, as of course I knew.
I intended rising an hour earlier than usual to make breakfast, and was wakened by the bell ringing, but fell asleep. I think it was the bell which wakened me again, and I rose and, after dressing, started to light the fire. It was not till after considerable rummaging that I found the firewood, and it was a good while longer before I could get it to burn. I must have used at least half a dozen newspapers before the wood took fire; and as I had not time to wait on the coal burning, I used several bundles of sticks. The coffee wasn't a success. I had put in three times as much water as was necessary, and it was the colour of beer. I couldn't find the milk,--at least not then; but I found it when I was hurrying out, knocking it over with my foot. It had been laid at the door with the morning paper on the top of it, and I left a stream meandering down the steps.
On my way along the street I fancied I was being looked at more than was necessary, and found, by a mirror in a shop window, that my face was peculiarly tattooed with black marks through using my hands for a handkerchief while sweating over the fire.
My great success--the steak--was yet to come off. I would have it for supper, and went into a butcher's shop for it on the way home. I had never been in a butcher's before, and did not know what to ask for. I said, "A piece of beef, please."
"Yes, sir; where off, sir?"
I am not up in the anatomy of the cow, so I said, "Oh! the place you make steaks of."
"Yes, sir; how much shall I give you, sir?"
A waiter would have known, and gone off shouting "Steak one," but I had to indicate the size with my hands. I didn't like the way he handled the meat,--he did not use a fork.
"Can I send it for you, sir?"
"Oh no," I said, "I'll take it with me."
He wrapped it in a piece of old newspaper, and I nearly let it drop when I got it in my hand, it was so damp and flabby, like carrying a frog by the middle. There was no use trying to persuade myself that people would think it was a bunch of flowers; it was hanging limp down each side of my hand, and I had not gone far till the blood oozed through the paper. I felt like a cannibal. Of course the fire was to light again; and as I did not like the kitchen range, I lit the dining-room fire.
The preface to this collection sets an unusual tone: the author confesses that 'laziness and modesty' are his excuses for publishing, and that the book exists only because he grew tired of writing out his stories by hand for friends who wanted to recite them. Stevenson, an artist (R.S.A.), originally published most of these sketches in the Edinburgh Evening Dispatch. The fourth edition adds new material, including the frequently requested 'David and Goliath.' This is not a novel but a series of standalone comic pieces, many built around recurring characters like the M'Crankys and the boy Johnnie Paterson.
A Reluctant Author and His Reciters
Stevenson frames his book as a favor to those who pestered him for written copies of his oral stories. One correspondent from Natal, who considered himself 'rather good at reciting,' promised to perform them for 'the fellows here.' The author never replied, and he frets over this discourtesy. This backstory matters because it explains the sketches' style: they are designed to be spoken aloud, with punchlines, dialect, and theatrical timing. The preface also notes that the stories have 'undergone various vicissitudes'—a hint that some, like 'David and Goliath,' had been circulating in altered forms before Stevenson reclaimed them.
The Art of the After-Dinner Speech
One extended excerpt dissects the conventions of after-dinner speaking with deadpan precision. Stevenson catalogs the required clichés: 'With regard to our Navy, you all know what our tars have done in the past'; the obligatory pause for 'Hear, hear'; and the formulaic praise for whatever town one happens to be in. He advises that a speaker should 'play with a wine glass, a fruit knife, or the watch chain' to appear at ease. The humor lies in the gap between the pompous rhetoric and the mechanical repetition—a satire of public performance that mirrors the author's own ambivalence about performing his stories.
Dialect and Domestic Comedy
Though the excerpts are limited, the table of contents and illustrations point to a world of Scottish domestic and social comedy. Titles like 'Spring Cleaning,' 'The Singing Lesson,' and 'Mrs. M'Cranky at the International Football Match' suggest sketches built around recognizable situations, likely rendered in Scots dialect. The frontispiece caption—'We're waiting on you, mum,' he said to his partner—captures a tone of patient, slightly exasperated domesticity. The illustrations by artists like Henry W. Kerr and R. M'Gregor indicate that the humor was visual as well as verbal, with scenes of 'Two Happy Husbands' and a man washing 'some peenies' (potatoes).
Reading the Sketches as Performance Scripts
Because these pieces were written for recitation, a first-time reader may benefit from reading them aloud, or at least imagining a speaking voice. The rhythms are oral: short sentences, repeated phrases, and punchlines that land on a pause. The after-dinner speech excerpt, for instance, mimics the cadence of a toast: 'With regard to our Army, you all know what our soldiers have done in the past.' The humor is cumulative and situational rather than plot-driven. Readers should expect each sketch to be a self-contained vignette, often ending on a wry observation or a deflated expectation, rather than a traditional narrative arc.
Stevenson's sketches offer a window into early twentieth-century Scottish social life, filtered through a comic sensibility that is both affectionate and gently mocking. The author's own reluctance to publish—his 'chronic laziness'—paradoxically gives the collection its charm: these are stories that were meant to be shared, not enshrined. Approach them as you would a evening of after-dinner stories: listen for the dialect, watch for the punchlines, and enjoy the company of the M'Crankys, Johnnie Paterson, and the rest.
That rainy Glasgow afternoon, Wee Johnnie’s stubborn, kindly mischief warmed the room, and I found myself thinking about the quiet stubbornness of folk who tend others rather than themselves. Before I knew it, I’d pulled down The Country Doctor — Inside the Classic, and the rain kept falling, unhurried, as both books seemed to share the same patient, half-smiling gaze at ordinary lives.
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