The Eagle's Shadow — Edition Insights
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Read the Text
Colonel Thomas Hugonin, formerly in the service of Her Majesty the Empress of India, Margaret Hugonin's father.
Frederick R. Woods, the founder of Selwoode, Margaret's uncle by marriage.
Billy Woods, his nephew, Margaret's quondam fiancé.
Hugh Van Orden, a rather young young man, Margaret's adorer.
Martin Jeal, M.D., of Fairhaven, Margaret's family physician.
Cock-Eye Flinks, a gentleman of leisure, Margaret's chance acquaintance.
Petheridge Jukesbury, president of the Society for the Suppression of Nicotine and the Nude, Margaret's almoner in furthering the cause of education and temperance.
Felix Kennaston, a minor poet, Margaret's almoner in furthering the cause of literature and art.
Sarah Ellen Haggage, Madame President of the Ladies' League for the Edification of the Impecunious, Margaret's almoner in furthering the cause of charity and philanthropy. Kathleen Eppes Saumarez, a lecturer before women's clubs, Margaret's almoner in furthering the cause of theosophy, nature study, and rational dress.
Adèle Haggage, Mrs. Haggage's daughter, Margaret's rival with Hugh Van Orden.
And Margaret Hugonin.
The other participants in the story are Wilkins, Célestine, The Spring Moon and The Eagle.
LIST OF ILLUSTRATIONS
"'Altogether,' says Colonel Hugonin, 'they strike me as being the most ungodly menagerie ever gotten together under one roof since Noah landed on Ararat'"
"Then, for no apparent reason, Margaret flushed, and Billy ... thought it vastly becoming"
"Billy unfolded it slowly, with a puzzled look growing in his countenance"
"'My lady,' he asked, very softly, 'haven't you any good news for me on this wonderful morning?'"
"Miss Hugonin pouted. 'You needn't, be such a grandfather,' she suggested helpfully."
"Regarded them with alert eyes"
This is the story of Margaret Hugonin and of the Eagle. And with your permission, we will for the present defer all consideration of the bird, and devote our unqualified attention to Margaret.
I have always esteemed Margaret the obvious, sensible, most appropriate name that can be bestowed upon a girl-child, for it is a name that fits a woman--any woman--as neatly as her proper size in gloves.
Yes, the first point I wish to make is that a woman-child, once baptised Margaret, is thereby insured of a suitable name. Be she grave or gay in after-life, wanton or pious or sullen, comely or otherwise, there will be no possible chance of incongruity; whether she develop a taste for winter-gardens or the higher mathematics, whether she take to golf or clinging organdies, the event is provided for. One has only to consider for a moment, and if among a choice of Madge, Marjorie, Meta, Maggie, Margherita, Peggy, and Gretchen, and countless others--if among all these he cannot find a name that suits her to a T--why, then, the case is indeed desperate and he may permissibly fall back upon Madam or--if the cat jump propitiously, and at his own peril--on Darling or Sweetheart.
The second proof that this name must be the best of all possible names is that Margaret Hugonin bore it. And so the murder is out. You may suspect what you choose. I warn you in advance that I have no part whatever in her story; and if my admiration for her given name appear somewhat excessive, I can only protest that in this dissentient world every one has a right to his own taste. I knew Margaret. I admired her. And if in some unguarded moment I may have carried my admiration to the point of indiscretion, her husband most assuredly knows all about it, by this, and he and I are still the best of friends. So you perceive that if I ever did so far forget myself it could scarcely have amounted to a hanging matter.
I am doubly sure that Margaret Hugonin was beautiful, for the reason that I have never found a woman under forty-five who shared my opinion. If you clap a Testament into my hand, I cannot affirm that women are eager to recognise beauty in one another; at the utmost they concede that this or that particular feature is well enough. But when a woman is clean-eyed and straight-limbed, and has a cheery heart, she really cannot help being beautiful; and when Nature accords her a sufficiency of dimples and an infectious laugh, I protest she is well-nigh irresistible. And all these Margaret Hugonin had.
And surely that is enough.
I shall not endeavour, then, to picture her features to you in any nicely picked words. Her chief charm was that she was Margaret.
And besides that, mere carnal vanities are trivial things; a gray eye or so is not in the least to the purpose. Yet since it is the immemorial custom of writer-folk to inventory such possessions of their heroines, here you have a catalogue of her personal attractions. Launce's method will serve our turn.
Imprimis, there was not very much of her--five feet three, at the most; and hers was the well-groomed modern type that implies a grandfather or two and is in every respect the antithesis of that hulking Venus of the Louvre whom people pretend to admire. Item, she had blue eyes; and when she talked with you, her head drooped forward a little. The frank, intent gaze of these eyes was very flattering and, in its ultimate effect, perilous, since it led you fatuously to believe that she had forgotten there were any other trousered beings extant. Later on you found this a decided error. Item, she had a quite incredible amount of yellow hair, that was not in the least like gold or copper or bronze--I scorn the hackneyed similes of metallurgical poets--but a straightforward yellow, darkening at the roots; and she wore it low down on her neck in great coils that were held in place by a multitude of little golden hair-pins and divers corpulent tortoise-shell ones. Item, her nose was a tiny miracle of perfection; and this was noteworthy, for you will observe that Nature, who is an adept at eyes and hair and mouths, very rarely achieves a creditable nose. Item, she had a mouth; and if you are a Gradgrindian with a taste for hairsplitting, I cannot swear that it was a particularly small mouth. The lips were rather full than otherwise; one saw in them potentialities of heroic passion, and tenderness, and generosity, and, if you will, temper. No, her mouth was not in the least like the pink shoe-button of romance and sugared portraiture; it was manifestly designed less for simpering out of a gilt frame or the dribbling of stock phrases over three hundred pages than for gibes and laughter and cheery gossip and honest, unromantic eating, as well as another purpose, which, as a highly dangerous topic, I decline even to mention.
There you have the best description of Margaret Hugonin that I am capable of giving you. No one realises its glaring inadequacy more acutely than I.
Furthermore, I stipulate that if in the progress of our comedy she appear to act with an utter lack of reason or even common-sense--as every woman worth the winning must do once or twice in a lifetime--that I be permitted to record the fact, to set it down in all its ugliness, nay, even to exaggerate it a little--all to the end that I may eventually exasperate you and goad you into crying out, "Come, come, you are not treating the girl with common justice!"
For, if such a thing were possible, I should desire you to rival even me in a liking for Margaret Hugonin. And speaking for myself, I can assure you that I have come long ago to regard her faults with the same leniency that I accord my own.
We begin on a fine May morning in Colonel Hugonin's rooms at Selwoode, which is, as you may or may not know, the Hugonins' country-place. And there we discover the Colonel dawdling over his breakfast, in an intermediate stage of that careful toilet which enables him later in the day to pass casual inspection as turning forty-nine.
At present the old gentleman is discussing the members of his daughter's house-party. We will omit, by your leave, a number of picturesque descriptive passages--for the Colonel is, on occasion, a man of unfettered speech--and come hastily to the conclusion, to the summing-up of the whole matter.
"Altogether," says Colonel Hugonin, "they strike me as being the most ungodly menagerie ever gotten together under one roof since Noah landed on Ararat."
Now, I am sorry that veracity compels me to present the Colonel in this particular state of mind, for ordinarily he was as pleasant-spoken a gentleman as you will be apt to meet on the longest summer day.
You must make allowances for the fact that, on this especial morning, he was still suffering from a recent twinge of the gout, and that his toast was somewhat dryer than he liked it; and, most potent of all, that the foreign mail, just in, had caused him to rebel anew against the proprieties and his daughter's inclinations, which chained him to Selwoode, in the height of the full London season, to preside over a house-party every member of which he cordially disliked. Therefore, the Colonel having glanced through the well-known names of those at Lady Pevensey's last cotillion, groaned and glared at his daughter, who sat opposite him, and reviled his daughter's friends with point and fluency, and characterised them as above, for the reason that he was hungered at heart for the shady side of Pall Mall, and that their presence at Selwoode prevented his attaining this Elysium. For, I am sorry to say that the Colonel loathed all things American, saving his daughter, whom he worshipped.
And, I think, no one who could have seen her preparing his second cup of tea would have disputed that in making this exception he acted with a show of reason. For Margaret Hugonin--but, as you know, she is our heroine, and, as I fear you have already learned, words are very paltry makeshifts when it comes to describing her. Let us simply say, then, that Margaret, his daughter, began to make him a cup of tea, and add that she laughed.
Not unkindly; no, for at bottom she adored her father--a comely Englishman of some sixty-odd, who had run through his wife's fortune and his own, in the most gallant fashion--and she accorded his opinions a conscientious, but at times, a sorely taxed, tolerance. That very month she had reached twenty-three, the age of omniscience, when the fallacies and general obtuseness of older people become dishearteningly apparent.
"It's nonsense," pursued the old gentleman, "utter, bedlamite nonsense, filling Selwoode up with writing people! Never heard of such a thing. Gad, I do remember, as a young man, meeting Thackeray at a garden-party at Orleans House--gentlemanly fellow with a broken nose-- and Browning went about a bit, too, now I think of it. People had 'em one at a time to lend flavour to a dinner--like an olive; we didn't dine on olives, though. You have 'em for breakfast, luncheon, dinner, and everything! I'm sick of olives, I tell you, Margaret!" Margaret pouted.
"They ain't even good olives. I looked into one of that fellow Charteris's books the other day--that chap you had here last week. It was bally rot--proverbs standing on their heads and grinning like dwarfs in a condemned street-fair! Who wants to be told that impropriety is the spice of life and that a roving eye gathers remorse? _You_ may call that sort of thing cleverness, if you like; I call it damn' foolishness." And the emphasis with which he said this left no doubt that the Colonel spoke his honest opinion.
"Attractive," said his daughter patiently, "Mr. Charteris is very, very clever. Mr. Kennaston says literature suffered a considerable loss when he began to write for the magazines."
And now that Margaret has spoken, permit me to call your attention to her voice. Mellow and suave and of astonishing volume was Margaret's voice; it came not from the back of her throat, as most of our women's voices do, but from her chest; and I protest it had the timbre of a violin. Men, hearing her voice for the first time, were wont to stare at her a little and afterward to close their hands slowly, for always its modulations had the tonic sadness of distant music, and it thrilled you to much the same magnanimity and yearning, cloudily conceived; and yet you could not but smile in spite of yourself at the quaint emphasis fluttering through her speech and pouncing for the most part on the unlikeliest word in the whole sentence.
But I fancy the Colonel must have been tone-deaf. "Don't you make phrases for me!" he snorted; "you keep 'em for your menagerie Think! By gad, the world never thinks. I believe the world deliberately reads the six bestselling books in order to incapacitate itself for thinking." Then, his wrath gathering emphasis as he went on: "The longer I live the plainer I see Shakespeare was right--what fools these mortals be, and all that. There's that Haggage woman--speech-making through the country like a hiatused politician. It may be philanthropic, but it ain't ladylike--no, begad! What has she got to do with Juvenile Courts and child-labour in the South, I'd like to know? Why ain't she at home attending to that crippled boy of hers--poor little beggar!--instead of flaunting through America meddling with other folk's children?"
Miss Hugonin put another lump of sugar into his cup and deigned no reply.
"By gad," cried the Colonel fervently, "if you're so anxious to spend that money of yours in charity, why don't you found a Day Nursery for the Children of Philanthropists--a place where advanced men and women can leave their offspring in capable hands when they're busied with Mothers' Meetings and Educational Conferences? It would do a thousand times more good, I can tell you, than that fresh kindergarten scheme of yours for teaching the children of the labouring classes to make a new sort of mud-pie."
"You don't understand these things, attractive," Margaret gently pointed out. "You aren't in harmony with the trend of modern thought."
"No, thank God!" said the Colonel, heartily.
Ensued a silence during which he chipped at his egg-shell in an absent-minded fashion.
"That fellow Kennaston said anything to you yet?" he presently queried.
"I--I don't understand," she protested--oh, perfectly unconvincingly. The tea-making, too, engrossed her at this point to an utterly improbable extent.
Thus it shortly befell that the Colonel, still regarding her under intent brows, cleared his throat and made bold to question her generosity in the matter of sugar; five lumps being, as he suggested, a rather unusual allowance for one cup.
Then, "Mr. Kennaston and I are very good friends," said she, with dignity. And having spoiled the first cup in the making, she began on another.
"Glad to hear it," growled the old gentleman. "I hope you value his friendship sufficiently not to marry him. The man's a fraud--a flimsy, sickening fraud, like his poetry, begad, and that's made up of botany and wide margins and indecency in about equal proportions. It ain't fit for a woman to read--in fact, a woman ought not to read anything; a comprehension of the Decalogue and the cookery-book is enough learning for the best of 'em. Your mother never--never--"
Colonel Hugonin paused and stared at the open window for a little. He seemed to be interested in something a great way off.
"We used to read Ouida's books together," he said, somewhat wistfully. "Lord, Lord, how she revelled in Chandos and Bertie Cecil and those dashing Life Guardsmen! And she used to toss that little head of hers and say I was a finer figure of a man than any of 'em--thirty years ago, good Lord! And I was then, but I ain't now. I'm only a broken-down, cantankerous old fool," declared the Colonel, blowing his nose violently, "and that's why I'm quarrelling with the dearest, foolishest daughter man ever had. Ah, my dear, don't mind me--run your menagerie as you like, and I'll stand it."
Margaret adopted her usual tactics; she perched herself on the arm of his chair and began to stroke his cheek very gently. She often wondered as to what dear sort of a woman that tender-eyed, pink-cheeked mother of the old miniature had been--the mother who had died when she was two years old. She loved the idea of her, vague as it was. And, just now, somehow, the notion of two grown people reading Ouida did not strike her as being especially ridiculous.
"Was she very beautiful?" she asked, softly.
"My dear," said her father, "you are the picture of her."
"You dangerous old man!" said she, laughing and rubbing her cheek against his in a manner that must have been highly agreeable. "Dear, do you know that is the nicest little compliment I've had for a long time?"
Thereupon the Colonel chuckled. "Pay me for it, then," said he, "by driving the dog-cart over to meet Billy's train to-day. Eh?"
"I--I can't," said Miss Hugonin, promptly.
"Why?" demanded her father.
"Because----" said Miss Hugonin; and after giving this really excellent reason, reflected for a moment and strengthened it by adding, "Because----"
"See here," her father questioned, "what did you two quarrel about, anyway?"
"I--I really don't remember," said she, reflectively; then continued, with hauteur and some inconsistency, "I am not aware that Mr. Woods and I have ever quarrelled."
"By gad, then," said the Colonel, "you may as well prepare to, for I intend to marry you to Billy some day. Dear, dear, child," he interpolated, with malice aforethought, "have you a fever?--your cheek's like a coal. Billy's a man, I tell you--worth a dozen of your Kennastons and Charterises. I like Billy. And besides, it's only right he should have Selwoode--wasn't he brought up to expect it? It ain't right he should lose it simply because he had a quarrel with Frederick, for, by gad--not to speak unkindly of the dead, my dear--Frederick quarrelled with every one he ever knew, from the woman who nursed him to the doctor who gave him his last pill. He may have gotten his genius for money-making from Heaven, but he certainly got his temper from the devil. I really believe," said the Colonel, reflectively, "it was worse than mine. Yes, not a doubt of it--I'm a lamb in comparison. But he had his way, after all; and even now poor Billy can't get Selwoode without taking you with it," and he caught his daughter's face between his hands and turned it toward his for a moment. "I wonder now," said he, in meditative wise, "if Billy will consider that a drawback?"
It seemed very improbable. Any number of marriageable males would have sworn it was unthinkable.
However, "Of course," Margaret began, in a crisp voice, "if you advise Mr. Woods to marry me as a good speculation--"
But her father caught her up, with a whistle. "Eh?" said he. "Love in a cottage?--is it thus the poet turns his lay? That's damn' nonsense! I tell you, even in a cottage the plumber's bill has to be paid, and the grocer's little account settled every month. Yes, by gad, and even if you elect to live on bread and cheese and kisses, you'll find Camembert a bit more to your taste than Sweitzer."
"But I don't want to marry anybody, you ridiculous old dear," said Margaret.
"Oh, very well," said the old gentleman; "don't. Be an old maid, and lecture before the Mothers' Club, if you like. I don't care. Anyhow, you meet Billy to-day at twelve-forty-five. You will?--that's a good child. Now run along and tell the menagerie I'll be down-stairs as soon as I've finished dressing."
And the Colonel rang for his man and proceeded to finish his toilet. He seemed a thought absent-minded this morning.
"I say, Wilkins," he questioned, after a little. "Ever read any of Ouida's books?"
"Ho, yes, sir," said Wilkins; "Miss 'Enderson--Mrs. 'Aggage's maid, that his, sir--was reading haloud hout hof 'Hunder Two Flags' honly last hevening, sir."
"H'm--Wilkins--if you can run across one of them in the servants' quarters--you might leave it--by my bed--to-night."
"And--h'm, Wilkins--you can put it under that book of Herbert Spencer's my daughter gave me yesterday. _Under_ it, Wilkins--and, h'm, Wilkins--you needn't mention it to anybody. Ouida ain't cultured, Wilkins, but she's damn' good reading. I suppose that's why she ain't cultured, Wilkins."
And now let us go back a little. In a word, let us utilise the next twenty minutes--during which Miss Hugonin drives to the neighbouring railway station, in, if you press me, not the most pleasant state of mind conceivable--by explaining a thought more fully the posture of affairs at Selwoode on the May morning that starts our story.
The narrator of The Eagle's Shadow announces from the first paragraph that the story concerns Margaret Hugonin and the Eagle, then promptly defers consideration of the bird to focus on Margaret. This playful deferral sets the tone for a work in which the narrator frequently interrupts, editorializes, and undercuts expectations. The opening chapter dwells on the name Margaret itself, arguing it is universally suitable—a claim delivered with such elaborate, mock-serious logic that the reader suspects irony from the start. Cabell’s prose is dense with arch asides and philosophical digressions, often delivered by characters like the minor poet Felix Kennaston, whose speeches on the fallibility of truth and the tyranny of platitudes occupy entire paragraphs. The novel’s diction is mannered, its dialogue layered with epigrams, and its descriptive passages laced with a dry, knowing humor that rewards close attention to word choice and rhetorical structure.
A Narrator Who Refuses to Stay in the Wings
The most conspicuous authorial choice in The Eagle's Shadow is the narrator’s constant presence. He addresses the reader directly, offers opinions on names, proverbs, and human nature, and even comments on the act of storytelling itself. For instance, after introducing Margaret, he spends several paragraphs justifying the name’s appropriateness with mock-scholarly reasoning. This technique creates a distance between the reader and the events, reminding us that we are being told a story rather than immersed in one. The narrator’s voice is urbane, slightly cynical, and fond of paradox—qualities that align with the novel’s thematic interest in the elusiveness of truth. When Kennaston later delivers a long speech on the unreliability of general statements, he echoes the narrator’s own habits, blurring the line between authorial commentary and character dialogue. This self-conscious narration invites the reader to question not just the characters’ motives but the very premises of the fiction.
Dialogue as a Stage for Wit and Skepticism
Cabell’s dialogue is less concerned with advancing plot than with showcasing intellectual sparring. Kennaston’s monologue on truth, quoted in the excerpts, is a set piece: he dismantles proverbs, historical certainties, and the very possibility of objective fact, all while maintaining a tone of urbane complaint. His speech is peppered with allusions (Pilate, Nero, Shakespeare) and self-deprecating asides, such as calling his own argument a general statement. The other characters, like Billy Woods, react with drowsiness or startlement, underscoring the gap between Kennaston’s verbal performance and his audience’s engagement. This pattern—a character delivering a polished, skeptical lecture while others listen passively—recurs in the excerpts and suggests that Cabell values dialogue as a vehicle for ideas rather than dramatic conflict. The effect is theatrical: characters often seem to be performing for one another, their words chosen for maximum epigrammatic effect rather than naturalism.
Description as Caricature and Social Satire
Cabell’s descriptive passages tend toward the economical and the ironic. The list of characters at the outset is itself a form of description: each figure is tagged with a mock-heroic epithet—Frederick R. Woods is “the founder of Selwoode,” Cock-Eye Flinks is “a gentleman of leisure,” and several characters are designated “Margaret’s almoner” in various causes. This catalog immediately signals that the novel will treat its social world with satirical detachment. The illustrations mentioned in the front matter—such as the one captioned “Altogether, they strike me as being the most ungodly menagerie ever gotten together under one roof since Noah landed on Ararat”—reinforce this tone. In the prose itself, description often serves to undercut: a character’s gesture is noted with clinical precision (“Billy Woods, who had counted seven wrinkles and was dropping into a forlorn doze, started violently”), turning a moment of potential drama into comedy. Cabell’s eye for the absurd detail—the wrinkle-counting, the dozing—keeps the reader aware of the artifice behind the scene.
Structure and the Art of Digression
The novel’s structure, as glimpsed in the excerpts, is episodic and digressive. The narrator’s willingness to postpone the Eagle, to spend pages on the name Margaret, and to let Kennaston hold forth at length suggests a deliberate loosening of narrative economy. This is not a tightly plotted romance but a series of set pieces linked by a thin thread of courtship intrigue. The chapter titles (not provided in full, but the list of 33 chapters hints at a leisurely pace) and the presence of multiple “almoners” for different causes indicate a social panorama rather than a focused plot. Cabell seems more interested in the texture of conversation and the exposure of pretension than in propelling a story forward. Readers accustomed to swift narrative progression may find the digressions frustrating; those who enjoy savoring language and irony will appreciate the space Cabell gives to his characters’ verbal flourishes. The structure itself embodies the novel’s skepticism about definitive statements: it refuses to hurry toward a conclusion, preferring to circle its subjects from multiple angles.
The Eagle's Shadow rewards readers who attend to its linguistic play and its narrator’s sly commentary. Cabell’s prose demands patience with digression and a taste for epigrammatic dialogue. The novel’s pleasures lie less in what happens than in how it is told—in the arch asides, the philosophical tangents, and the satirical portraits of a society obsessed with causes and appearances. Approach it as a performance of wit rather than a straightforward narrative, and its ironies will unfold with each rereading.
That wry narrator in The Eagle's Shadow made me think about how we all perform ourselves, and it stayed with me long after. It reminds me of something similar in Sweet Cicely — or Josiah Allen as a Politician — Inside the Classic, where the charm lies in watching pretension quietly unravel without a raised voice. Just a gentle, knowing smile left behind.
Elijah Baker
2 weeks agoAvery King
1 month agoWilliam Scott
2 weeks agoSofia Allen
1 month ago-
Alexis Salinas - 1 month ago
{'review_type': 'neutral', 'content': "This novel has a strong satirical voice and some genuinely funny moments. However, the characters can be a bit one-dimensional, serving more as types than fully realized individuals. The plot is somewhat predictable, but the writing makes it enjoyable. It's a good read for fans of social satire, though not quite the author's best work."} -
Jeanette Young - 2 weeks ago
{'review_type': 'negative', 'content': "The Eagle's Shadow tries too hard to be clever, resulting in forced humor and stereotyped characters. The satire lacks subtlety and becomes repetitive. The story is thin and the ending unsatisfying. While the premise is interesting, the execution is mediocre. I expected more depth and was left feeling underwhelmed."} -
Logan Floyd - 1 week ago
{'review_type': 'positive', 'content': "The Eagle's Shadow is a sharp, satirical look at American society in the early 20th century. The writing is witty and incisive, with characters that are both humorous and thought-provoking. The story cleverly critiques materialism and pretension while still being entertaining. A brilliant read for those who enjoy intelligent social commentary."}
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