Kidnapped at the Altar; Or, The Romance of that Saucy Jessie Bain — Edition Insights

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Libbey, Laura Jean, 1862-1924 Project Gutenberg 2010 Not confirmed
Fiction; Love stories; Adventure stories; Dime novels Readers of public-domain and historical texts
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Words 67,176
Reading time 293 min
Text sections 7

This digital edition of Kidnapped at the Altar; Or, The Romance of that Saucy Jessie Bain — Edition Insights is described by source-level measurements including 67,176 words, 4 hr 53 min estimated reading time, and 7 detected text sections.

The text analysis averages about 16.3 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 “Fiction,” connecting these edition facts with the source record’s subject description.

This editorial note examines the structural and imagistic patterns in Laura Jean Libbey's dime novel, focusing on the recurring use of searchlights, water settings, and abrupt scene shifts that propel the plot.
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SOME YOUNG GIRLS FIND LOVE SO SWEET; TO OTHERS IT PROVES A CURSE.

It was a magnificent evening, in balmy June, on the far-famed St. Lawrence.

The steamer "St. Lawrence" was making her nightly search-light excursion down the bay, laden to her utmost capacity.

The passengers were all summer tourists, light of heart and gay of speech; all save one, Hubert Varrick, a young and handsome man, dressed in the height of fashion, who held aloof from the rest, and who stood leaning carelessly against the taffrail.

The steamer was making its way in and out of the thousand green isles, the great light from the pilot-house suddenly throwing a broad, illuminating flash first on this and then on that.

As the light swept across land and water from point to point, Varrick lightly laughed aloud at the ludicrous incidents, such as the sudden flashing of the light's piercing rays on some lover's nook, where two souls indulging in but one thought were ruthlessly awakened from sweet seclusion to the most glaring publicity, and at many a novel sight, little dreaming that at every turn of the ponderous wheels he was nearing his destiny.

"Where are we now?" he inquired of a deck-hand.

"At Fisher's Landing, sir."

The words had scarcely left his lips ere a radiant flood of electric light swept over the jutting bit of mainland. In that instantaneous white glare Varrick saw a sight that was indelibly engraved upon his memory while life lasted.

The dock was deserted by all save one person--a young girl, waving her hand toward the steamer.

She wore a dress of some white, fleecy material, her golden hair flying in the wind, and flapping against her bare shoulders and half-bared white arms.

"Great heavens! who is that?" Varrick cried.

But as he strained his eyes eagerly toward the beautiful picture, the scene was suddenly wrapped in darkness, and the steamer glided on.

"Who was that, and what place was it?" he asked again.

"It was Fisher's Landing, I said," rejoined the other. "The girl is 'Saucy Jessie Bain,' as they call her hereabouts. She's Captain Carr's niece."

"Has she a lover?" suddenly asked Varrick.

"Lord bless you, sir!" he answered, "there's scarcely a single man for miles around that isn't in love with Jessie Bain; but she will have none of them.

"There's a little story about Jessie Bain. I'll tell it to you, since you admire the girl."

But the story was not destined to become known to Varrick, for his companion was called away at that moment.

He could think of nothing else, see nothing but the face of the girl he had seen on the dock at Fisher's Landing.

This was particularly unfortunate, for at that moment Hubert Varrick was on his way to be married on the morrow to the beautiful heiress, Miss Northrup.

She was a famous beauty and belle, and Varrick had been madly in love with her. But since he had seen the face of Jessie Bain he felt a strange, half-defined regret that he was bound to another. He was not over-impatient to arrive at his destination, although he knew that Gerelda Northrup and a bevy of her girl friends would undoubtedly be at the dock to welcome him.

This proved to be the case, and a moment later he caught sight of the tall, stately beauty, who swept forward to meet him with outstretched jeweled hands and a glad welcome on her proud face.

"I am so delighted that you have come at last, Hubert," she murmured.

But she drew back abashed as he attempted to kiss her, and this action chilled him to the very heart's core.

He was quickly presented to Gerelda's girl friends, and then the party made their way up to the Crossmon Hotel, which was only a few yards distant, Varrick and Miss Northrup lagging a little behind the rest.

"I hope you have been enjoying your outing this season, my darling," said Varrick.

"I have had the most delightful time of my life," she declared.

Varrick frowned. It was not so pleasant for him to hear that she could enjoy herself in his absence. Jealousy was deeply rooted in his nature.

"Is there any special one who has helped to make it so pleasant?" he asked.

"Yes. Captain Frazier is here."

"Have you been flirting with him, Gerelda?" he asked.

"Don't be jealous, Hubert."

"I am jealous!" he cried. "You know that is the curse of the Varricks."

By this time they had reached the hotel. Throngs of beautiful women crowded the broad piazzas, yet Varrick noticed with some pride that Gerelda was the most beautiful girl there.

"You must be very tired after your long journey," she murmured. "You should retire early, to be fully rested for to-morrow."

"Do you mean _you_ wish to retire early?" asked Hubert, rather down-hearted that she wanted to dismiss him so soon. "If you think it best I will leave you."

Was it only his fancy, or did her eyes brighten perceptibly?

A few more turns up and down the veranda, a few impassioned words in a cozy nook, and then he said good-night to her, delivering her to the care of her chaperon.

But even after he had reached his room, and thrown himself across his couch, Varrick could not sleep.

The sound of laughter floated up to him.

Though it was an hour since he had bidden Gerelda good-night, he fancied that it was her voice he heard in the porch below; and he fancied, too, that he knew the other deep rich voice that chimed in now and then with hers.

"That is certainly Frazier," he muttered.

Seizing his coat and hat, he donned them hurriedly, left his room, stepped out of the hotel by a rear entrance, made a tour of the thickly wooded grounds, until at last, from his hiding-place among the trees, he could gain an excellent view of the brilliantly lighted piazza, himself unseen.

His surmise had been but only too true.

Mad with jealous rage, Varrick turned on his heel.

He rushed down the path to the water's edge. A little boat was skimming over the water, heading for the very spot where he stood. Its occupant, a sturdy young fisherman, was just about to secure it to an iron ring, when Varrick approached him.

"I should like to hire your boat for an hour," he said, huskily.

Varrick wanted to get away, to be by himself to think.

The bargain was made with the man, and with a few strokes from his muscular arms the little skiff was soon whirling out into the deep waters of the bay. Then he rested on his oars and floated down with the tide.

Suddenly a clear and yet shrill voice broke upon his ear.

"Halloo! Halloo there! Won't you come to my rescue, please?"

Varrick could hear the girlish voice plainly enough, but he could not imagine whence it came.

Again the shrill cry was repeated. Just then he observed a slight figure standing down near the water's edge of the island he was passing.

Varrick headed for the island at once, and as he drew so near that the face of the girl could be easily distinguished, he made a wonderful discovery--the girl was Jessie Bain.

"I am so glad for deliverance at last!" she cried.

"How in the world came you here?" exclaimed Varrick.

"I came out for a little row," she said, "and stopped at this island for some flowers that I had seen here yesterday. I suppose I could not have fastened my boat very securely, for when I came to look for it, it was gone; and, oh! my uncle would be so angry; he would beat me severely!"

Somehow one word brought on another, and quite unconsciously pretty little Jessie Bain found herself chatting to the stranger, who vowed himself as only too pleased to row out of his way to see her safely home.

"Your home does not seem to be a happy one," he said at length.

"It wouldn't be, if they could have their way. It used to be different when auntie was alive. Now my cousin beats me badly enough, and Uncle John believes all she tells him about me. But I always get even with her.

"In the morning my cousin went to her work (she clerks in one of the village stores), but before she left the house she picked the biggest quarrel you ever heard of, with me--because I wouldn't lend her the only decent dress I have to wear. She expected her beau from a neighboring village to come to town.

"I would have lent it to her, but she's just the kind of a girl that wouldn't take care of anything, unless it was her own, and I knew it would be ruined in one day.

"It took me a whole year to save money enough to get it. I sold eggs to buy it, and, oh, golly! didn't I coax those chicks to lay, though!"

Varrick could not help but smile as he looked at her.

And she was so innocent, too. He wondered if she could be more than sixteen or seventeen years old.

"About four o'clock she sent a note to the house, and in it she said:

"'Dear Cousin Jessie, I am going to bring company home, so for goodness' sake do get up a good dinner. I send a whole basket of good things with the boy who brings this note. Cook them all.'

"Well, I cooked the supper just as she wanted me to do. Oh! it was dreadfully tempting, and right here let me say, whenever there's a broken cup or saucer or plate in the house, or fork with only two prongs, or a broken-handled knife, it always falls to me. My cousin always says: 'It's good enough for Jessie Bain; let _her_ have it.'

"I prepared the dainty supper, ran and got every good knife and fork and plate and cup and saucer, and hid them under an old oak-tree fully half a mile away.

"I left out on the table only the broken things, to see how she'd like them.

"By and by she and her beau came. I ran out the back door as I heard them cross the front porch.

"Oh! but wasn't she mad! I watched her through the window, laughing so hard I almost split my sides, and she fairly flew at me. Then I went down and jumped into my little boat, and pushed away for dear life, to be out of her reach. I rowed down to this island, thinking to fetch her back some flowers to appease her mighty wrath; but I was so tired that I fell asleep. I was frightened nearly to death when I awoke and saw that it was dark night. I had a greater fright still when I discovered that my little boat was gone--had drifted away."

Varrick had almost forgotten his own turbulent thoughts in listening to the girl.

"Are you not afraid of punishment?" he asked, as they neared Fisher's Landing.

He could see a quick, frightened look sweep over the girl's face.

"I don't know what they will do with me," she said.

"If they attempt to abuse you come straight to me!" cried Varrick, quite forgetful in the eagerness of the moment what he was saying.

By this time they had reached Fisher's Landing. He sprung from the skiff and helped her ashore.

"Good-night, and thank you ever so much," she said. And with a quick, childish, thoughtless motion, she bent her pretty head and kissed the strong white hand that clasped her own.

He had been so kind, so sympathetic to her, and that was something new for Jessie Bain.

He watched her in silence as she flitted up the path, until she was lost to sight in the darkness.

Then he re-entered his boat and made his way slowly back to the bay.

The spacious corridors of the grand Hotel Crossmon were wrapped in silence when he reached it.

He half expected to see the two whom he had left in that flower-embowered lovers' nook at the end of the piazza still sitting there.

Then he laughed to himself at the folly of the thought.

FATE IS AGAINST SOME PEOPLE, FROM THE CRADLE TO THE GRAVE.

Change is the law of wind and moon and lover-- And yet I think, lost Love, had you been true, Some golden fruits had ripened for your plucking You will not find in gardens that are new.

When Gerelda Northrup bid Captain Frazier good-night, and linked her arm within her mother's, and retired to their apartments, Mrs. Northrup could not help notice how carefully her daughter guarded the great crimson beauty rose she wore on her breast.

The mother also noticed that the handsome captain wore a bud of the same kind in the lapel of his coat.

"My dear," she said, "I think you are going a little too far with Captain Frazier. It will not do to flirt with him on the very eve of your marriage with Hubert Varrick."

"There isn't the least bit of harm in it, mamma," Gerelda answered. "Captain Frazier is a delightful companion. Why shouldn't I enjoy his society?"

"Because it is playing with edged tools," declared Mrs. Northrup. "The captain is desperately in love with you."

"You should not blame him for lingering by my side to the very last moment."

"Trouble will come of it, I fear," returned the other. "He is always at your side."

"Save your lecture until to-morrow. I am sure it will keep. Do please ring the bell for my maid; it is nearly eleven o'clock, and I must not lose my beauty-sleep."

Gerelda Northrup knew in her own mind that all her mother said was but too true; but the spirit of coquetry was so deeply imbedded in her nature that she would not resign her sceptre over her old lovers' hearts until the last moment.

Of course the captain understood thoroughly that all her love was given to Hubert Varrick, and that it was only a very mild flirtation with himself she was indulging in.

She would have trembled could she have read the thoughts of Captain Frazier at that very moment.

In his elegant apartment, at the further end of the corridor, the captain was pacing the floor, wild with his own thoughts.

"My God! can I live through it?" he muttered. "How can I live and endure it? How can I stand by and see the girl I love made another man's bride, without the mad desire to slay him overpowering me? If I would not have the crime of murder on my soul, I must leave this place to-night, and never look upon Gerelda's beautiful face again. One day more of this would drive me mad. Great Heaven! why did I linger by her side when I knew my danger? There are times when I could almost swear that Gerelda cares quite as much for me as she does for Hubert Varrick. If I had had a fair chance I think I could have won her from him. No, I will not see her again-- I will leave here this very night."

The captain rang the bell furiously, and called for a brandy and soda.

Soon after he left the hotel, saying that he would send for his luggage later.

But even after he had done all that, Captain Frazier stood motionless in the grounds watching the darkened windows of Gerelda's room.

The fire in his brain, produced by the potion he had taken, made sad havoc with his imagination. He thought of how the knights of old did when the girls they loved were about to wed rivals.

Was he less brave than they? And he thought, standing there under the night sky, how cleverly the gypsy had outwitted Blue-beard at the very altar to which he had led his blushing brides.

Great was Miss Northrup's consternation the next morning when she learned through a little note left for her that Captain Frazier had taken his departure from the Crossmon Hotel the preceding night. A sigh of relief fell from her red lips.

"Perhaps it is better so," she said.

A messenger who brought a great basket of orchids and white roses, entered.

Hidden among the flowers, Gerelda found a little note in Varrick's handwriting:

"I hope my darling rested well. Heaven has made the day beautiful because it is our marriage morn."

It was an odd notion of Gerelda's to steal away from their elegant city mansion and her dear five hundred friends, to have the ceremony performed quietly up at the Thousand Islands, with only a select few to witness it.

Great preparations had been made in the hotel for the approaching marriage. The spacious private parlors to be used were perfect fairy bowers of roses and green leaves.

Up to this very morning Miss Northrup's imported wedding-gown had not arrived. Mrs. Northrup and Hubert Varrick were wild with anxiety and impatience over the affair. Gerelda alone took the matter calmly.

"It will be here some time to-day," she averred. "The wedding will be delayed but a few hours, after all, and I don't know but that I prefer an evening wedding to a morning one, anyhow."

It was almost dark ere the long-looked-for bridal _trousseau_ arrived. Varrick drew a great breath of relief.

He welcomed the shadows of night with the greatest joy. He never afterward remembered how he lived until the hour of eight rolled round.

He had not long to wait in the little anteroom where she was to join him. The few invited guests who were so fortunate as to receive invitations were all present.

A low murmur of admiration ran around that little group as the heavy silken _portieres_ that separated the anteroom from the reception parlor were drawn aside, and Hubert Varrick entered with the beautiful heiress leaning on his arm.

In her gloved right hand she carried a prayer-book of pearl and gold. A messenger had brought it, handing it to her just as she was about to enter the anteroom.

"It is from an unknown friend," whispered the boy, so low that even Varrick did not catch the words. "A simple wish accompanies it," the boy went on, "and that is, when the ceremony is but just begun, you will raise the little book to your lips for the sake of the unknown friend who sends it to you."

Gerelda smiled and promised, thoughtlessly enough, that she would comply.

"Are you ready, my darling?" said Hubert.

His thoughts were so confused at the time, that he had paid little heed to the messenger or noticed what he had brought to Gerelda, or what their conversation was about, or that the boy fled like a dark-winged shadow down the corridor after he had executed his errand.

She took her place by his side. Ah! how proud he was of her superb beauty, of her queenly carriage, and her haughty demeanor! Surely she was a bride worth winning--a queen among girls!

Slowly and solemnly the marriage ceremony began. Varrick answered promptly and clearly the questions put to him. Then the minister turned to the slender, staturesque figure by his side.

"Will you take this man to be your lawful, wedded husband, to love, honor, and obey him till death do you part?" he asked.

At that moment all assembled thought they heard a low, muffled whistle.

Before making answer, Gerelda raised the beautiful pearl and gold prayer-book and kissed it.

She tried to speak the words: "I will;" but all in an instant her lips grew stiff and refused to utter them.

No sound save a low gasp broke the terrible stillness.

She had kissed the little prayer-book as she had so laughingly and thoughtlessly promised to do, ere she uttered the words that would make her Hubert Varrick's wife. And what had happened to her? She was gasping for breath--dying!

The little book fell unheeded at her feet, and her head drooped backward.

With a great cry, Hubert Varrick caught her.

"It is only a momentary dizziness," said Varrick, half leading, half carrying her into the anteroom and up to the window, and throwing open the sash.

"Rest here, my darling, while I fetch you a glass of water," he said, as he placed her in a chair and rushed from the room.

The event just narrated had happened so suddenly that Mrs. Northrup and those in the outer apartment were for the time being fairly dazed, unable to move or stir.

And by the time they had recovered their senses Hubert had reappeared with a glass of water in his hand.

From its opening paragraph, Kidnapped at the Altar establishes a distinctive visual rhythm: the steamer 'St. Lawrence' sweeps a searchlight across the Thousand Islands, exposing lovers' nooks and startling secluded couples. This recurring device—a beam of light that both reveals and disrupts—becomes a structural motif, mirroring how the narrative itself repeatedly thrusts characters from private moments into public crises. The novel’s movement between scenes often hinges on such sudden illuminations, whether literal or figurative, as when Jessie Bain is thrown 'homeless, penniless upon the world' after Captain Carr’s illness. The story’s geography—Fisher’s Landing, Wau-Winet Island, New York City—is mapped by these abrupt transitions, each new location introduced with a similar jolt of exposure and displacement.

The Searchlight as Structural Device

The searchlight on the St. Lawrence is more than period color; it functions as a narrative tool that organizes the story’s revelations. In the first chapter, the light ‘swept across land and water from point to point,’ catching ‘lover’s nook[s]’ and ‘novel sight[s].’ This pattern recurs throughout: secrets are exposed, characters are caught off guard, and the plot pivots on moments of sudden visibility. When Jessie Bain arrives in New York, the setting sun and the drugstore inquiry serve a similar purpose—illuminating her precarious position. The novel’s chapter titles, such as ‘The Mysterious House on Wau-Winet Island’ and ‘The Midnight Visitor,’ promise further such exposures, suggesting that the searchlight’s beam is a metaphor for the story’s own method of gradually bringing hidden truths to light.

Water as a Recurrent Setting

The St. Lawrence River and its islands anchor the novel’s geography and mood. The opening scene on the steamer establishes a fluid, transient world where characters are ‘laden to her utmost capacity’ yet isolated—Hubert Varrick stands apart, ‘leaning carelessly against the taffrail.’ Water serves as both a boundary and a conduit: Wau-Winet Island is a site of mystery and confinement, while the journey to New York is described as ‘long’ and undertaken ‘just as the sun was sinking.’ The collision mentioned in Chapter XIX (‘The Collision—The Pilot at the Wheel’) hints at further aquatic peril. This repeated immersion in watery settings—whether the river, the bay, or the voyage—creates a sense of constant motion and instability, mirroring Jessie’s own drift from one precarious situation to another.

Abrupt Scene Shifts and Economic Precarity

The narrative moves with startling speed from one crisis to the next, often driven by economic necessity. Jessie Bain’s trajectory—from Fisher’s Landing to a theatrical boarding-house in New York—is marked by a series of sudden displacements: Captain Carr’s illness leaves her ‘homeless, penniless’; she must find work immediately; the landlady Mrs. Tracy suggests the stage as a quick solution. These shifts are not lingered upon; the prose jumps from ‘she wept as she had never wept before’ to ‘the journey to the great metropolis was a long one’ within a single paragraph. This breathless pacing reflects the dime novel’s demand for constant action, but it also underscores the precariousness of Jessie’s existence. Each new location—a drugstore, a boarding-house, a stage door—is introduced with minimal transition, as if the world itself is unstable and any shelter temporary.

The Role of the Unreliable Companion

Margaret Moore, the ‘faithful’ but mentally afflicted friend, introduces a recurring tension between loyalty and burden. Jessie insists on keeping Margaret with her, declaring she will ‘divide my last crust of bread with her,’ yet the narrative also treats Margaret as a liability: she must be cautioned ‘not to quit the room’ and to ‘answer no questions.’ The landlady mistakes them for sisters, and Jessie lets the assumption stand to avoid explanation. This dynamic—a protagonist encumbered by a dependent whose presence complicates every move—echoes the novel’s broader pattern of characters tethered to obligations they cannot escape. Margaret’s near loss of her hands in a fire and Jessie’s refusal to place her in an asylum create a moral anchor that contrasts with the otherwise swift, opportunistic plot turns.

Readers attentive to the novel’s structure will notice how Libbey uses light, water, and sudden dislocation to propel the story forward. The searchlight’s beam, the river’s currents, and the rapid scene changes are not merely decorative; they form a coherent system of movement and exposure that defines the characters’ world. Approaching the text with an eye to these patterns reveals a deliberate craft beneath the dime novel’s breathless surface.

You know how some stories stay with you, not for the plot, but for the way they play with light and sudden shifts—like watching a searchlight sweep across dark water, never quite settling. I felt that again reading The Riflemen of the Miami — Edition Insights, that same quiet sense of being carried along by scenes that feel almost like memories. It lingers gently.

Camila Campbell
1 week ago

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