The Lost Treasure of Trevlyn: A Story of the Days of the Gunpowder Plot — Text and Context
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For The Lost Treasure of Trevlyn: A Story of the Days of the Gunpowder Plot — Text and Context, the stored edition analysis reports 153,453 words, 11 hr 8 min estimated reading time, and 13 detected text sections.
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Project Gutenberg metadata also associates the work with “Gunpowder Plot, 1605 -- Juvenile fiction,” connecting these edition facts with the source record’s subject description.
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Cuthbert was unable to speak; his father's hand pressed too tightly on his throat. He did not struggle or resist. Those were days when sons--ay, and daughters too--were used to receiving severe chastisement from the parental hand without murmur: and Nicholas Trevlyn had not been one to spare the rod where his son had been concerned. His wrath seemed to rise as he felt the slight form of the lad sway beneath his strong grasp. Surely that slim stripling could be reduced to obedience; but the lesson must be a sharp one, for plainly the poison was working, and had already produced disastrous results.
"Miserable boy!" cried Nicholas, his eyes blazing in their cavernous hollows, "the time has come when this matter must be settled betwixt us twain. Swear that thou wilt go no more to the churches of the Protestant faction, be the laws what they may; swear that thou wilt hold no more converse on matters of religion with thy cousins at the Chase--swear these things with a solemn and binding oath, and all may yet be well. Refuse, and thou shalt yet learn, as thou hast not learned before, what the wrath of a wronged and outraged father can be!"
Petronella, the dark-eyed girl, who had all this while been crouching back in her high-backed chair in an attitude of shrinking terror, now sprang suddenly towards her brother, crying: "O Cuthbert, Cuthbert! prithee do not anger him more!
"Father, O dear sir, let but him go this once! He does not willingly anger you; he does but--"
"Peace, foolish girl, and begone! This is no time for woman's whining. Thy brother and I can settle this business betwixt us twain. But stay, go thou to my room and fetch thence the strong whip wherewith I chastise the unruly hounds. Those who disobey like dogs must be beaten like dogs.
"But, an thou wilt swear to do my bidding in the future, and avoid all pestilent controversy with those false scions of thy house, thy chastisement shall be light. Defy me, and thou shalt feel the full weight of my arm as thou hast never felt it before."
Petronella had never seen her father so angry in all her life before. True, he had always been a harsh, stern man, an unloving father, a captious tyrant in his own house. But there had been limits to his anger. It had taken more generally the form of sullen brooding than of wild wrath, and the irritation and passion which had lately been increasing visibly in him was something comparatively new.
Of late, however, there had been growing friction between Cuthbert and his father. The youth, who had remained longer a boy in his secluded life than he would have done had his lot been cast in a wider sphere, was awakening at last to the stirrings of manhood within him, and was chafing against the fetters, both physical and spiritual, laid upon him by the life he was forced to lead through the tyrannical will of his father. He was beginning, in a semi-conscious fashion, to pant for freedom, and to rebel against the harsh paternal yoke.
When a struggle of wills commences, the friction continues a long while before the spark is produced; but when some unwonted contest has ignited this, the flame often bursts out in wonderful fury, and the whole scene is thence forward changed.
If the old man's blood was up today, Cuthbert's was no less so. He shook himself free for a moment from his father's grasp and stood before him, tall, upright, indignant, no fear in his face, but a deep anger and pain; and his words were spoken with great emphasis and deliberation.
"I will swear nothing of all that. I claim for myself the right of a man to judge for myself and act for myself. I am a boy no longer; I have reached man's estate. I will be threatened and intimidated no longer by any man, even though he be my father. I am ready and willing to leave your house this very day. I am weary of the life here. I would fain carve out fortune for myself. It is plain that we cannot be agreed; wherefore it plainly behoves us to part. Let me then go, but let me go in peace. It may be when I return to these doors you may have learned to think more kindly of me."
But the very calmness of these words only stung Nicholas to greater fury. He had in full force that inherent belief, so deeply rooted in the minds of many of the sons of Rome, that conviction as well as submission could be compelled--could be driven into the minds and consciences of recalcitrant sons and daughters by sheer force and might. Gnashing his teeth in fury, he sprang once more upon his son, winding his strong arms about him, and fairly lifting him from the ground in his paroxysm of fury.
"Go! ay, we will see about that. Go, and carry your false stories and falser thoughts out into the world, and pollute others as you yourself have been polluted! we will think of that anon. Here thou art safe in thy father's care, and it will be well to think further ere we let so rabid a heretic stray from these walls. Wretched boy! the devil himself must sure have entered into thee. But fiends have been exorcised before now. It shall not be the fault of Nicholas Trevlyn if this one be not quickly forced to take flight!"
All this while the infuriated man had been partly dragging, partly carrying his son to a dreary empty room in the rear of the dilapidated old house inhabited by Nicholas and his children. It was a vault-like apartment, and the roof was upheld in the centre by a stout pillar such as one sees in the crypts of churches, and suspended round this pillar were a pair of manacles and a leather belt. Cuthbert had many times been tied up to this pillar before, his hands secured above his head in the manacles, and his body firmly fastened to the pillar by the leather thong. Sometimes he had been left many hours thus secured, till he had been ready to drop with exhaustion. Sometimes he had been cruelly beaten by his stern sire in punishment for some boyish prank or act of disobedience. Even the gentle and timid Petronella had more than once been fastened to the pillar for a time of penance, though the manacles and the whip had been spared to her. The place was even now full of terrors for her--a gruesome spot, always dim and dark, always full of lurking horrors. Her eyes dilated with agony and fear as she beheld her brother fastened up--not before his stout doublet had been removed--and her knees almost gave way beneath her as her father turned sharply upon her and said: "Where is the whip, girl?"
It was seldom that the maiden had the courage to resist her, stern father; but today, love for her brother overcoming every other feeling, she suddenly sank on her knees before him, clasping her hands in piteous supplication, as she cried, with tears streaming down her face: "O father, sweet father, spare him this time! for the love of heaven visit not his misdoings upon him! Let me but talk to him; let me but persuade him! Oh, do not treat him so harshly! Indeed he may better be won by love than driven by blows!"
But Nicholas roughly repulsed the girl, so that she almost fell as he brushed past her.
"Tush, girl! thou knowest not what thou sayest. Disobedience must be flogged out of the heretic spawn. I will have no son of mine sell himself to the devil unchecked. A truce to such tears and vain words! I will none of them. And take heed that thine own turn comes not next. I will spare neither son nor daughter that I find tampering with the pestilent doctrines of heretics!"
So saying, the angry man strode away himself in search of the weapon of chastisement, and whilst Petronella sobbed aloud in her agony of pity, Cuthbert looked round with a strange smile to say: "Do not weep so bitterly, my sister; it will soon be over, and it is the last beating I will ever receive at his hands. This settles it--this decides me. I leave this house this very night, and I return no more until I have won my right to be treated no longer as a slave and a dog."
"Alas, my brother! wilt thou really go?"
"Ay, that will I, and this very night to boot."
"This night! But I fear me he will lock thee in this chamber here."
"I trust he may; so may I the better effect my purpose. Listen, sister, for he will return right soon, and I must be brief. I have been shut up here before, and dreaming of some such day as this, I have worked my way through one of yon stout bars to the window; and it will fall out now with a touch. Night falls early in these dark November days. When the great clock in the tower of the Chase tolls eight strokes, then steal thou from the house bearing some victuals in a wallet, and my good sword and dagger and belt. Meet me by the ruined chantry where we have sat so oft. I will then tell thee all that is in my heart--for which time lacks me to speak now.
"Hist! there is his returning step. Leave me now, and weep not. I care naught for hard blows; I have received too many in my time. But these shall be the last!"
Petronella, trembling in every limb, shrank silently away in the shadows as her father approached, the sight of his grim, stern face and the cruel-looking weapon in his hands bringing quick thrills of pain and pity to her gentle heart. Petronella was a very tender floweret to have been reared amidst so much hardness and sorrow. It was wonderful that she had lived through the helpless years of infancy (her mother had died ere she had completed her second year) with such a father over her, or that having so lived she had preserved the sweetness and clinging softness of temperament which gave to her such a strange charm--at least in the opinion of one. Doubtless she owed much of her well being to the kindly care of an old deaf and dumb woman, the only servant in that lonely old house, who had entered it to nurse the children's mother through her last illness, and had stayed on almost as a matter of course, receiving no wage for her untiring service, but only the coarse victuals that all shared alike, and such scanty clothing as was absolutely indispensable.
To this old crone Petronella fled with white face and tearful eyes, as the sound of those terrible blows smote upon her ears with the whistling noise that well betrayed the force with which they were dealt. She quickly made the faithful old creature aware of what was going on, and her sympathy was readily aroused on behalf of the sufferer. The dumb request for food was also understood and complied with. No doubt there had been times before when the girl had crept with bread and meat in her apron to the solitary captive, who was shut up alone without food till he should come to a better mind.
Of Cuthbert's intended flight she made no attempted revelation. She must act now, and explain later, if she could ever make the old woman understand, that her brother had fled, and had not been done to death by his hard-hearted father.
Supper was over. It had been at the close of that meal that the explosion had taken place. She would not be called upon to meet her father again that day. Fleeing up the broken stone staircase just as his feet were heard returning from the vaulted room, she heard him bang to the door of the living room before she dared to steal into the little bare chamber where her brother slept, and where all his worldly possessions were stored.
The old Gate House was a strange habitation. Formerly merely the gateway to the Castle, which had once reared its proud head upon the crest of the hill to the westward, it had but scant accommodation for a family--one living room below, flanked on one side by the kitchen, and on the other by the vaulted chamber, once possibly a guardroom, but so bitterly cold and damp now that it was never used save for such purposes as had been witnessed there that evening. A winding, broken stone stairway led upwards to a few very narrow chambers above of irregular shape, and all lighted by loophole windows deeply splayed. The lowest of these was the place where Nicholas slept, and there was a slight attempt at furniture and comfort; but the upper chambers, where Petronella and Cuthbert retired out of the way of their father's sullen and morose temper, were bare of all but actual necessities, and lacked many things which would be numbered amongst essentials in later days. The stone floors had not even a carpeting of rushes, the pallet beds lay on the hard stone floor, and only the girl possessed a basin and ewer for washing. Cuthbert was supposed to perform his ablutions in the water of the moat without, or at the pump in the yard.
But Petronella had small notion of the hardness of her life. She had known no other, and only of late had she begun to realize that other girls were more gently reared and tended. Since the family had come to live at the Chase--which had only happened within the past year--her ideas had begun to enlarge; but so far this had not taught her discontent with her surroundings.
She knew that her father had fled to the Gate House as a place of retirement in the hour of his danger and need, and that nobody had denied his right to remain there, though the whole property was in the possession of Sir Richard Trevlyn, the nephew of her morose parent. Nicholas, however, as may have been already gathered, bore no goodwill towards his nephew, and would fain have hindered his children from so much as exchanging a word with their kinsfolks. But blood is thicker than water, and the young naturally consort together. Nicholas had married so late in life that his children were much about the same age as those of his nephew--indeed the Trevlyns of the Chase were all older than Petronella. Sir Richard had striven to establish friendly relations with his uncle when he had first brought his family to the Chase, and had only given up the attempt after many rebuffs. He encouraged his children to show kindness to their cousins, as they called each other, and since that day a ray of sunshine had stolen into Petronella's life, though she was almost afraid to cherish it, lest it should only be withdrawn again.
As she hurried to the tryst that evening, this fear was only second to the bitter thought of parting with Cuthbert. Yet she did not wish him to stay. Her father's wrath and suspicion once fully aroused, no peace could be hoped for or looked for. Terribly as she would miss him, anything was better than such scenes as the one of today. Cuthbert was no longer a child; he was beginning to think and reason and act for himself. It was better he should fly before worse had happened; only the girl could not but wonder what her own life would be like if, after his departing, her stern father should absolutely forbid her seeing or speaking to her cousins again.
She knew he would gladly do it; knew that he hated and grudged the few meetings and greetings that did pass between them from time to time. Any excuse would gladly be caught at as a pretext for an absolute prohibition of such small overtures, and what would life be like, she wondered with a little sob, if she were to lose Cuthbert, and never to see Philip?
Her brother was at the trysting place first. She could not see his face, but could distinguish the slight figure seated upon the crumbling fragment of the wall. He was very still and quiet, and she paused as she drew near, wondering if he had not heard her light footfall upon the fallen leaves.
"Is that thou, my sister?" asked a familiar voice, though feeble and hollow in its tones. The girl sprang quickly to his side.
"Yes, Cuthbert, it is I; and I have brought all thou biddest me, and as much beside as I could make shift to carry. Alack, Cuthbert are you sorely hurt? I heard that cruel whip!"
"Think no more of that! I will think no more myself once the smart be past. Think of the freedom thy brother will enjoy; would that thou couldst share it, sweet sister! I like not faring thus forth and leaving thee, but for the nonce there be no other way.
"Petronella, I know thou wouldst ask whither I go and what I do. And that I scarce know myself as yet. But sitting here in the dark there has come a new purpose, a new thought to my mind. What if I were to set myself to the discovery of the lost treasure of Trevlyn Chase?"
The girl started in the darkness, and laid her hand on her brother's arm.
"Ah, Cuthbert, that lost treasure! Would that thou couldst find it! But how canst thou hope to do so when so many besides have failed?"
"That is not the fashion in which men think when they mean to triumph, my sister," said Cuthbert, and she knew by his voice that he was smiling. "How this thing may be done I know not. Where the long-lost treasure be hid I know not, nor that I may ever be the one to light on it. But this I do know, that it is somewhere; that some hand buried it; that even now some living soul may know the secret of the hiding place. Petronella, hast thou ever thought of it? Hast thou ever wondered if our father may know aught of it?"
"Our father! nay, Cuthbert; but he would be the first to show the place and claim his share of spoil."
"I know not that. He hates Sir Richard. Methinks he loved not his own brother, the good knight's father. He was in the house what time the treasure vanished. Might he not have had some hand in the mystery?"
The girl shook her head again doubtfully.
"Nay, how can I say? Yet methinks our father, who sorely laments his poverty and dependence for a home upon Sir Richard's kindness, would no longer live at the old Gate House had he riches hidden away upon which he might lay his hand. Nay, Cuthbert, methinks thou art not on the right track in thinking of him. But I do not rightly know the story of that lost treasure."
"Marry, nor I neither. I have heard our father rave of it. I have heard a word here, a whisper there, but never a full account of the matter. But that there is some great treasure lost or made away with all men who know aught of the Trevlyns know well. And if, as all affirm, this same treasure is but buried in some hiding place, the clue to which none possesses, why should not I find it? Why should not I be the man at last to track and to discover it?"
Why not indeed? Petronella, full of ardent youthful imaginings, fired instantly with the thought. Why should not her brother do this thing? Why not indeed? She looked at him with eyes that shone in the gloom like stars.
"Yes, Cuthbert, be it thine to do what none else has been able. Be it thine to discover this lost treasure. Would that I could help thee in that quest! But I can give thee just this one morsel of counsel. Start not till thou hast been to the Chase and heard all the story from our cousins there. They will tell thee what there is to know, and he is twice armed who has this knowledge."
The opening chapter of The Lost Treasure of Trevlyn thrusts readers into a heated confrontation between a father and son, where the father's furious command—'Dost defy me to my face, sirrah?'—immediately establishes the religious tensions of the Gunpowder Plot era. The son's reply, 'I have never used deceit towards you,' reveals a central conflict: the clash between filial duty and personal conscience. Everett-Green's dialogue is peppered with period idioms and biblical cadences, such as 'a plague and a curse be on all such,' which ground the story in early 17th-century speech patterns. The narrative voice shifts between dramatic scenes and explanatory passages, a technique that keeps the plot moving while providing historical context.
Diction and the Sound of Conflict
Everett-Green's characters speak in a heightened, almost theatrical register that mirrors the era's religious fervor. The father's outburst—'I am no father to heretic spawn'—uses the word 'heretic' as a weapon, while the son's measured defiance ('I am not deceitful') shows a generation gap expressed through faith. The author often employs exclamations and rhetorical questions to heighten tension: 'Thinkest thou that I will harbour beneath my roof one who sets me at open defiance?' This diction is not merely decorative; it reveals the characters' internal divisions. The daughter's silent terror, described as 'mute terror,' contrasts with the voluble men, emphasizing how women are often sidelined in these verbal battles. The language of the treasure subplot is more cryptic and folkloric, with phrases like 'the seven covetous men' and 'Long Robin lay in wait and slew them one by one,' shifting from courtroom-like accusations to whispered legends.
Voice and Perspective: Whose Story Is This?
The narrative voice is omniscient but frequently focalizes through Cuthbert, the young son, whose 'thoughtful brow and resolute mouth' are described early on. However, the excerpts also give significant space to female characters like Joanna, who recounts the treasure's history in a 'dark way,' and Esther, whose knowledge is conveyed through reported speech. This layering of voices—Cuthbert's direct experience, Joanna's secondhand tale, and Esther's mysterious authority—creates a puzzle for the reader. The author uses phrases like 'I cannot prove my words' and 'she knows it from strange words uttered by him in sleep' to signal that truth is elusive. The perspective shifts from the domestic quarrel of the Gate House to the forest's supernatural lore, suggesting that the novel's real interest lies not in historical events but in how stories are told and believed.
Structure: The Interplay of Family and Folklore
The novel's structure alternates between intimate family scenes and expansive folk narratives. The first chapter's domestic quarrel gives way to Joanna's tale of the seven covetous men and Long Robin, a shift from realistic dialogue to a legend filled with 'human bones and seven skulls.' This juxtaposition is deliberate: the treasure plot is introduced as a mystery that the family conflict will eventually intersect. The chapter titles—'The Inmates of the Old Gate House' and 'The Lost Treasure'—signal a dual focus on character and plot. Everett-Green uses the forest as a liminal space where historical and supernatural elements merge; the dell 'shunned by all' becomes a physical symbol of hidden guilt. The pacing is leisurely, with long expository speeches that build atmosphere rather than accelerate action, a choice that suits the novel's serialized origins.
Recurring Details: The Forest and the Hidden
Throughout the excerpts, the forest is a persistent presence, described as a place of concealment and danger. Joanna's account of the treasure includes specific details: 'the finding in the forest not many years since of a number of human bones and seven skulls, all lying near together in one place.' This image recurs with variations, such as the 'dell' that 'is shunned by all.' The author also repeats motifs of binding and release: the seven men 'bound him hand and foot' and left him 'to perish in a cave,' while later characters are 'bound' by secrets. The word 'secret' appears multiple times, as does 'whisper,' emphasizing a world where information is dangerous. These details are not merely decorative; they create a cohesive symbolic system where the forest represents both physical and moral obscurity, and the treasure stands for unresolved guilt.
Readers approaching The Lost Treasure of Trevlyn should attend to the way Everett-Green uses dialogue to dramatize historical conflicts without reducing them to mere background. The treasure plot, while central, is filtered through multiple narrators whose reliability is uncertain. The novel rewards attention to its linguistic texture—the oaths, the proverbs, the whispered legends—as much as to its plot twists. The forest, with its bones and secrets, is the book's true landscape.
There’s something about Trevlyn’s hidden vaults and whispered oaths that lingers after the last page—how loyalty and secrecy twist together in the dark. I found myself thinking of that same quiet weight while reading Susan Lenox: Her Fall and Rise — Reading Notes, where survival asks for a different kind of hiding. Both feel like old letters, written in a hand I almost recognize.
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