Out for Business; or, Robert Frost's Strange Career — A Reader’s Guide
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For Out for Business; or, Robert Frost's Strange Career — A Reader’s Guide, the stored edition analysis reports 52,914 words, 3 hr 51 min estimated reading time, and 6 detected text sections.
The text analysis averages about 10.8 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 “Self-reliance -- Juvenile fiction,” connecting these edition facts with the source record’s subject description.
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Read the Text
Robert Frost, with his books under his arm, turned into the front yard of a handsome residence in the village of Granville. He was a boy of sixteen, strongly built, and with a handsome, expressive face.
"I wish mother were at home," he soliloquized. "It seems very lonesome when she is away."
He opened the front door and let himself into the house. It was a handsome and spacious hall. Two paintings hung on the walls, and both were portraits. One represented a lady, with a pretty, but rather weak face. She looked as if she had very little resolution, and might easily be influenced by one with stronger will. The other picture was that of a man of near forty. It was an attractive face. The strong resemblance which it bore to the boy made it probable that it was his father, and such was the case. Robert looked up to it regretfully, for he had not yet got over the loss of his father, hardly twelve months dead.
"I wish dad were alive," he thought sadly, "we were such good friends, he and I."
Mr. Frost had not died of disease. He was cut off in the full vigor of life, the victim of a railroad accident. Robert remembered well when he was taken home, mangled and hardly to be recognized.
His death did not entail any privation upon his little family--Robert was the only child--for he left a considerable fortune and was heavily insured besides, so that they were still able to live in handsome style.
"When will supper be ready, Jane?" Robert asked of the servant, as he passed into the dining-room.
"At half-past five o'clock, Master Robert."
"All right, Jane. I will be on hand, and with a good appetite."
He put on his hat, after laying down his books, and was about to go out, when Jane arrested his steps.
"Wait a minute, Master Robert. There's a telegram for you."
He took the yellow envelope in some surprise.
"When was it left?" he asked.
"Half an hour since."
"It must be from mother," he said thoughtfully.
"Very likely--I hope it isn't bad news."
Robert echoed the wish, but did not say a word. He took out his penknife and opened the envelope.
There it was--just a few words, but they puzzled him.
"What is it?" asked Jane, whose curiosity was excited.
Robert read the telegram. It ran thus:
"Shall be at home to-morrow. Prepare for a great surprise.
Robert looked surprised and bewildered.
"What can it mean, Jane, do you think?" he asked.
"I don't know, I'm sure, Master Robert. Perhaps your mother is going to bring you a present."
"But she wouldn't call that a great surprise."
"I don't know then. You'll know to-morrow."
Yes, he would know to-morrow, but he could not help letting his mind dwell on the mystery. It occurred to him that it might be a gold watch, which he had long wanted, and which his mother had promised to get him very soon. But this would scarcely be considered a great surprise.
"Well, there's no use guessing," he decided at length. "I'll only have to wait till to-morrow, and then I shall know."
The next day was Saturday, and school did not keep. Robert looked over the railroad time-table, and concluded that his mother would arrive about twelve o'clock. This would bring her in time for dinner, which was usually on the table at half past twelve. He suggested to Jane to get a better dinner than usual, as his mother would probably be present to partake of it.
This suggestion proved unnecessary, for about ten o'clock Jane herself received a telegram to this effect.
"Have a good dinner ready at the usual time. I shall reach home in time for it, and bring another with me."
"So that's the surprise!" reflected Jane. "She is going to bring a friend with her. I wonder who it is. Maybe it's the lady she's been visiting. I hope it isn't, for lady visitors are so fussy."
However, Jane went to the market and ordered a pair of chickens, with a variety of vegetables, and prepared apple dumplings, which she knew Mrs. Frost always enjoyed.
"Now," she said, "I'll have a dinner good enough for anybody."
Robert intended to go to the depot to meet his mother, but he went on an expedition with one of his schoolmates, and found that he would scarcely have time to do so. So he returned home.
"Has mother come, Jane?" he asked.
"No, Master Robert, not yet."
He posted himself at the front window, and five minutes later he saw the depot carriage approaching the house.
"She's coming, Jane!" he called out in excitement.
From its opening pages, Out for Business; or, Robert Frost's Strange Career presents a narrative voice shaped by two authors. The preface by Arthur M. Winfield explains that Horatio Alger Jr. began the story but, due to illness, left an outline that Winfield completed. This dual authorship is traceable in the text: Alger's characteristic moralizing and emphasis on 'hard, common sense' appear alongside Winfield's more action-oriented prose, particularly in chase scenes. The novel's language shifts between deliberate, instructive passages and brisk, dialogue-driven confrontations, creating an uneven but engaging rhythm.
A Voice of Moral Certainty
The protagonist, Robert Frost, speaks with a formal, almost stilted politeness that reflects Alger's didactic style. When he assists Charles Shotmore, Robert says, 'I'll help you hold him, sir,' and later insists, 'I don't wish it' when offered payment. His language is consistently deferential and principled, reinforcing the 'high moral aim' mentioned in the preface. This voice contrasts sharply with the sharper Andy Cross, whose dialogue is marked by stammering and excuses: 'This is—er—a—a great mistake.' The contrast between Robert's steady, upright speech and Cross's evasiveness underscores the novel's moral framework, where virtue is signaled through linguistic clarity.
Pacing Through Pursuit and Dialogue
The excerpted chase scene demonstrates a marked shift in pace. Early passages move slowly, with Robert obtaining an address from a directory and setting off. But when Cross flees, the prose accelerates: 'Hi! stop him!' cried Shotmore. 'Police! Police!' Short, exclamatory sentences and rapid actions—'dashed into the street,' 'took up the chase'—create urgency. The pursuit ends abruptly with Cross's escape, and the pace immediately slackens into reflective dialogue. This alternation between deliberate exposition and sudden bursts of action is a recurring structural feature, likely influenced by Winfield's completion, as his other works (e.g., The Rover Boys series) favor adventure sequences.
Recurring Details of Identification and Trust
The excerpt revolves around mistaken identity and the verification of names. Robert identifies Cross by the name 'Charles Shotmore,' and the real Shotmore confirms, 'Why, that is my name.' This motif of naming and recognition recurs throughout the passage: Robert gives his name, they shake hands, and Shotmore expresses hope of meeting again. The text lingers on the act of identification—Robert's cautious question, 'Do you know this fellow, sir?'—and the physical retrieval of the letter. These details suggest a world where trust is fragile and must be repeatedly established through verbal and documentary proof, a theme likely central to Robert's 'strange career.'
Readers attentive to shifts in tone will notice where Alger's measured instruction gives way to Winfield's faster pacing. The novel rewards those who track how Robert's steady voice navigates a world of deceptive appearances. The incomplete nature of the excerpts leaves the full arc of his career unknown, but the early chapters establish a pattern of moral testing through language and action.
Rereading the editorial notes on Out for Business, with its careful attention to Robert Frost’s quiet, measured voice, reminded me of another story where a child’s steadiness shapes the world around her. That same unhurried patience seems to live inside The Adopting of Rosa Marie (A Sequel to Dandelion Cottage) — Inside the Classic, like a familiar porch where both narratives wait to be noticed.
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