Philosophy 4: A Story of Harvard University — Reading Notes

(0 User reviews)   47
Wister, Owen, 1860-1938 Project Gutenberg 1997 Not confirmed
Harvard University -- Fiction; College stories Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 14,650
Reading time 64 min
Text sections 2

For Philosophy 4: A Story of Harvard University — Reading Notes, the stored edition analysis reports 14,650 words, 1 hr 4 min estimated reading time, and 2 detected text sections.

The text analysis averages about 15.4 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 “Harvard University -- Fiction,” connecting these edition facts with the source record’s subject description.

Owen Wister's 1903 story follows two Harvard students cramming for a philosophy exam and then on a quest for a tavern, revealing tensions between academic duty and sporting leisure, with sharp dialogue and period detail.
Share
Editorial Edition Score 4.5/5

Calculated from edition completeness, EPUB availability, text structure and catalogue metadata. Not a user rating.

How this score is calculated
  • Description quality20 pts
  • Title & short description10 pts
  • Source metadata20 pts
  • Text length15 pts
  • Chapters / structure15 pts
  • EPUB file integrity20 pts

Total of 100 points, scaled to a 2.5-5.0 range. Editions with an empty description or a missing EPUB file are not scored.

Edition quality

Read the Text

ve probably noticed. Their criticisms, slangy and abrupt, struck the scholastic Oscar as flippancies which he must indulge, since the pay was handsome. That these idlers should jump in with doubts and questions not contained in his sacred notes raised in him feelings betrayed just once in that remark about “orriginal rresearch.”

“Nine--ten--eleven--twelve,” went the little timepiece; and Oscar rose.

“Gentlemen,” he said, closing the sacred notes, “we have finished the causal law.”

“That’s the whole business except the ego racket, isn’t it?” said Billy.

“The duality, or multiplicity of the ego remains,” Oscar replied.

“Oh, I know its name. It ought to be a soft snap after what we’ve had.”

“Unless it’s full of dates and names you’ve got to know,” said Bertie.

“Don’t believe it is,” Billy answered. “I heard him at it once.” (This meant that Billy had gone to a lecture lately.) “It’s all about Who am I? and How do I do it?” Billy added.

“Hm!” said Bertie. “Hm! Subjective and objective again, I suppose, only applied to oneself. You see, that table is objective. I can stand off and judge it. It’s outside of me; has nothing to do with me. That’s easy. But my opinion of--well, my--well, anything in my nature--”

“Anger when it’s time to get up,” suggested Billy.

“An excellent illustration,” said Bertie. “That is subjective in me. Similar to your dislike of water as a beverage. That is subjective in you. But here comes the twist. I can think of my own anger and judge it, just as if it were an outside thing, like a table. I can compare it with itself on different mornings or with other people’s anger. And I trust that you can do the same with your thirst.”

“Yes,” said Billy; “I recognize that it is greater at times and less at others.”

“Very well, There you are. Duality of the ego.”

“Subject and object,” said Billy. “Perfectly true, and very queer when you try to think of it. Wonder how far it goes? Of course, one can explain the body’s being an object to the brain inside it. That’s mind and matter over again. But when my own mind and thought, can become objects to themselves--I wonder how far that does go?” he broke off musingly. “What useless stuff!” he ended.

“Gentlemen,” said Oscar, who had been listening to them with patient, Oriental diversion, “I--”

“Oh,” said Bertie, remembering him. “Look here. We mustn’t keep you up. We’re awfully obliged for the way you are putting us on to this. You’re saving our lives. Ten to-morrow for a grand review of the whole course.”

“And the multiplicity of the ego?” inquired Oscar.

“Oh, I forgot. Well, it’s too late tonight. Is it much? Are there many dates and names and things?”

“It is more of a general inquiry and analysis,” replied Oscar. “But it is forty pages of my notes.” And he smiled.

“Well, look here. It would be nice to have to-morrow clear for review. We’re not tired. You leave us your notes and go to bed.”

Oscar’s hand almost moved to cover and hold his precious property, for this instinct was the deepest in him. But it did not so move, because his intelligence controlled his instinct nearly, though not quite, always. His shiny little eyes, however, became furtive and antagonistic--something the boys did not at first make out.

Oscar gave himself a moment of silence. “I could not brreak my rule,” said he then. “I do not ever leave my notes with anybody. Mr. Woodridge asked for my History 3 notes, and Mr. Bailey wanted my notes for Fine Arts 1, and I could not let them have them. If Mr. Woodridge was to hear--”

“But what in the dickens are you afraid of?”

“Well, gentlemen, I would rather not. You would take good care, I know, but there are sometimes things which happen that we cannot help. One time a fire--”

At this racial suggestion both boys made the room joyous with mirth. Oscar stood uneasily contemplating them. He would never be able to understand them, not as long as he lived, nor they him. When their mirth Was over he did somewhat better, but it was tardy. You see, he was not a specimen of the first rank, or he would have said at once what he said now: “I wish to study my notes a little myself, gentlemen.”

“Go along, Oscar, with your inflammable notes, go along!” said Bertie, in supreme good-humor. “And we’ll meet to-morrow at ten--if there hasn’t been a fire--Better keep your notes in the bath, Oscar.”

The story opens with two tennis players, sweating in May heat, cramming for a philosophy exam under a clock shaped like Mephistopheles. Their instructor, who has attended nearly all lectures and taken shorthand notes, is repeatedly told to skip philosophers they already know. The scene establishes a central tension: the boys treat academic knowledge as a set of 'points' to be mastered, not explored. Their language—'skip Plato,' 'got him down cold'—is the idiom of athletes, not scholars. The clock's demonic design hints at a bargain with intellectual discipline.

Cramming as Sport

The opening chapter presents studying as a physical ordeal. The boys sit in tennis flannels, belts loosened, shirts unbuttoned. Perspiration dampens their notes. They listen with 'gloomy voracity' and scrawl 'vigorous, laconic notes.' The instructor's voice drones on about the Absolute Intelligence and the Cogito, but the students interrupt to skip Plato and Hobbes, claiming they have 'got' them. Their notebooks are 'dishevelled'; they rattle through back pages. The instructor, who has attended all but three lectures, is a hired gun, not a mentor. The scene is less about philosophy than about the performance of last-minute preparation—a contest against the clock, which strikes eleven from Mephistopheles' lap.

The Quest for the Bird-in-Hand

After the exam, the two students, Billy and Bertie, set out by buggy to find a tavern called the Bird-in-Hand. Their journey becomes a comic ordeal of misdirection. Inquiries yield contradictory answers: the tavern is at Hingham, Nantasket, South Braintree, or a mile back. Wister uses this to satirize rural intelligence: 'If you would gauge the intelligence of our population, inquire your way in a rural neighborhood.' The pair discuss club matters and philosophy, making it 'a near thing for the Causal law,' but their minds drift when the sun sinks. They debate returning to Cambridge, but pride—and a bet about a landlady's hair—pushes them onward. The landscape grows solitary; birds call, brooks run, frogs pipe. The quest becomes a test of resolve, with failure defined not by missing the tavern but by facing 'John the successful.'

Dialogue and Class Markers

Wister's dialogue is dense with period slang and class cues. The students say 'yep,' 'chappie,' 'by Jove,' and 'where's your sand?'—the last a challenge to courage. Bertie calls Billy 'my bonny boy' with condescending pride. The instructor speaks with 'sleek intonation,' a contrast to the boys' bluntness. When they meet a farmer in huge white shirt-sleeves, he addresses them as 'you boys' and offers backhanded praise: 'Come as near spillin' as you boys wanted.' The farmer's speech is laconic, self-assured: 'That's me. Bill Diggs of the Bird-in-Hand has been me since April, '65.' The exchange reveals a social hierarchy—city students versus rural native—and a shared code of understatement. The story's humor and tension arise from these verbal collisions.

Readers should attend to how Wister balances satire with affection. The students are ridiculous but not contemptible; their energy and camaraderie are genuine. The philosophy exam is a MacGuffin; the real subject is the performance of masculinity and class in a specific time and place. The excerpts offer no resolution—the tavern may or may not be found—so the pleasure lies in the journey's texture: the heat, the horse, the wrong turns, and the talk.

You know that restlessness those two Harvard boys feel, the exam and the tavern pulling against each other? It reminded me of how Philosophy 4 lingers—that ache between what we owe and what we want. There’s a softer, quieter version of that same tension in The Diary of a Goose Girl — Themes and Context, where duty and daydreaming breathe together. I thought of it often after finishing.

There are no reviews for this eBook.

0
0 out of 5 (0 User reviews )

Add a Review

Your Rating *
There are no comments for this eBook.

Reader reflection

Before you leave, reflect on the book

Use these questions to collect your thoughts before moving on.

Your progress 0 / 10
1

Which reading stage best describes you?

2

Was reading this book enjoyable?

3

Would you pass this book on to a friend?

4

How demanding did the text feel?

Related eBooks