Too dearly bought — Story, Setting & Ideas
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For Too dearly bought — Story, Setting & Ideas, the stored edition analysis reports 27,174 words, 1 hr 59 min estimated reading time, and 4 detected text sections.
The text analysis averages about 13.4 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 “Didactic fiction,” connecting these edition facts with the source record’s subject description.
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THE procession was coming down Pleasant Lane!
A great number of noisy little boys came trooping on ahead, with shrill cries, to announce this important fact. Hardly one among them understood exactly what the procession was about; but flags and banners are the delight of a boy's heart. Not seldom this particular form of affection for coloured bunting lasts on into manhood.
The wives and mothers, who turned out of their doorways to enjoy the sight, were, however, more learned than their little boys as to the cause of the stir. And everybody was aware that Peter Pope was to be at its head.
Peter Pope, a smooth-tongued and comfortably-dressed individual, had been very busy lately in the town. Most of his business had been in the way of talk; but what of that? There was a committee, of course, behind him, which did a good deal of work while Pope did the talk. He had been sent down, as a delegate from London, for the express purpose of teaching the inhabitants of the town; and teaching commonly means a certain amount of talk. Peter Pope had come to teach the men of the town to appreciate their degraded and enslaved condition. With this object in view he had talked vigorously for many weeks; and the men were becoming fast convinced of the truth of his words. They had not dreamt before what a melancholy thing it was to be a British working-man; but now their eyes were opened.
If you want to convince the British Public about anything,—especially that part of the British Public which reads very few books, and knows very little of history, and never goes out of England, just remember this! There is not the least need that you should be clever or learned yourself, or even powerful in speech. You only have to go on saying the same thing over and over and over again, with dogged pertinacity; and in time you are sure to be believed. The British Public is wonderfully easy of belief, and will swallow anything,—if only you give it time! Peter Pope had done this. He had talked on, with a resolute and dogged pertinacity; he had given his hearers plenty of time; and now he was rewarded by seeing the biggest boluses he could offer, meekly gulped down.
It was a dingy and smoky town enough to which he had come; one of the crowded manufacturing towns, of which England owns so many. Not a clean or pretty town, but a prosperous one hitherto, with a fair abundance of work for willing toilers. Those who were unwilling to toil did badly there as elsewhere; and these were the men who first swallowed Peter Pope's bait.
Pleasant Lane was not the least narrow and dingy of many narrow dingy streets. The houses on either side were small, and for the most part not over clean. One little home near the centre formed a marked exception as to this last point; boasting dainty muslin blinds, windows filled with plants, and a spotless front doorstep.
On that step stood Sarah Holdfast, in her clean print gown, watching like others for the coming procession. Not that she had the least idea of seeing her husband figure in it. She was only dandling her baby, and lifting it up to be amused with the stir.
Martha Stevens, a young and pretty woman in the next doorway, had no such security about her husband. Roger Stevens was morally sure to be in the thick of whatever might be stirring,—whether it were good or bad. He was a well-meaning man, and not usually unsteady; but, like a good many of his companions, he was easily led, always ready to believe what he was told, and ever prepared to follow the crowd. As the stream of public opinion—the public opinion of the little world around himself—happened just then to run in the direction of a grand procession, Martha had not a shadow of doubt that her husband would find his place somewhere in the said procession.
"What's it all about, mother?" asked Robert, a rosy child of nine.
"It's the men, Bobbie," she said. "They're having a procession."
"What for?" asked Bobbie.
"They want something that the masters won't give 'em. They want higher wages and shorter hours."
"But what's the 'cession for?" persisted Bobbie.
"I'll tell you what it's for," volunteered a slovenly woman in the left-hand doorway, tossing a ragged infant in her arms. "It's to show that they're Men, and they're going to have their Rights! Time enough too! Working-men ain't a-going to be trampled on no longer, nor their wives neither. We won't put up with no more tyranny nor nonsense."
The novel opens with a procession coming down Pleasant Lane, led by a smooth-tongued London delegate named Peter Pope, who has been sent to teach the men of the town to appreciate their "degraded and enslaved condition." The wives and mothers watching from doorways understand the cause better than the boys cheering for flags and banners. Giberne immediately establishes a contrast between the excitement of public spectacle and the sober domestic perspective of those who will bear the strike's consequences.
The narrative voice is pointedly ironic about Pope's mission: "teaching commonly means a certain amount of talk." This dry observation signals that the book will examine the gap between oratory and reality, between the slogans of agitation and the practical economics of wages, labour, and trade.
The Orator and the Workman
The excerpts present two contrasting voices. Peter Pope is described as "smooth-tongued and comfortably-dressed," a delegate from London whose business is talk. He comes to enlighten the town's ignorance, but the narrator undercuts his authority by noting that a committee does the work while Pope does the talking. In contrast, the workman John speaks plainly and at length, offering economic arguments against the strike. John does not deny the existence of grievances but warns that strikes cannot force wages above the level the labour market allows. He points to trades on the Continent with no unions that have gained twenty or thirty per cent on wages, and to English trade drifting abroad because higher prices drive away custom. His speech is patient, reasoned, and grounded in examples—America, France, Germany, Holland, Lima. The novel thus sets a demagogue against a self-educated working man who thinks in terms of supply and demand, not class war.
Domestic Interiors and Public Streets
The strike is not only a public event but one that penetrates homes. The opening scene shows wives and mothers turning out of doorways to watch the procession, more learned than their little boys about the cause. Later, a chapter titled "Baby Harry" suggests that domestic life—children, seed-cake, cold evenings—will be weighed against the abstract promises of the strike. The chapter headings themselves trace a movement from public spectacle ("Flags and Banners," "Peter Pope's Speech") to private consequences ("The Children," "A Cold Evening"). Giberne uses the physical setting of Pleasant Lane and the town to anchor the conflict in a specific place, where the strike's effects are measured in lost wages, cold rooms, and hungry children rather than in oratorical triumphs.
The Economics of the Strike Debate
John's long speech in the excerpts is the novel's most detailed exposition of the economic case against the strike. He argues that wages are determined by the scarcity of labour and the plenty of capital, not by unions or strikes. He warns that shorter hours with the same pay are simply a rise in the cost of production, which drives trade away. He cites the drift of English trade to foreign countries as evidence. The speech is structured as a series of questions and answers, with John countering each objection from the crowd. He acknowledges that Trades Unions "properly managed" have their place, and that a strike "at the right time" may be good, but insists they cannot force wages above the market level. The novel thus embeds a tutorial in classical political economy within the fiction, using the strike as a vehicle to examine the limits of collective action.
Readers should attend to how Giberne balances sympathy for the working men's grievances with a stern economic argument against the strike. The novel does not dismiss the men's frustrations but channels them into a debate about means and ends. The presence of children and domestic scenes throughout the chapter titles suggests that the ultimate measure of the strike's wisdom will be its cost to families, not its success at the bargaining table. The book rewards attention to its careful structuring of argument and counterargument, and to the way it uses the strike as a lens on broader questions of community, authority, and mutual responsibility.
That old story about the strike stayed with me—not the speeches, but the quiet families caught in the middle. It made me think of another book that lingers similarly, one where the weight of a world rests on a single child’s shoulders. There’s a tenderness in Rachel and the Seven Wonders — A Closer Reading that feels like that same small, private ache.
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