The Fortune Hunter — Context and Discussion

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Phillips, David Graham, 1867-1911 Project Gutenberg 1996 Not confirmed
Man-woman relationships -- Fiction; Mystery fiction Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 33,810
Reading time 147 min
Text sections 4

This digital edition of The Fortune Hunter — Context and Discussion is described by source-level measurements including 33,810 words, 2 hr 27 min estimated reading time, and 4 detected text sections.

The text analysis averages about 12.2 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 “Man-woman relationships -- Fiction,” connecting these edition facts with the source record’s subject description.

An editorial note on David Graham Phillips's novel, focusing on its theatrical narrative voice, shifts in pacing, and the contrast between Feuerstein's performative self-regard and the women's raw reactions.
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Feuerstein looked annoyed. "Perhaps I can make that do. Thank you--sorry to trouble you. I MUST be more careful."

The two dollars were transferred, Feuerstein gave Hartmann a flourishing stage salute and strode grandly on. Before he had gone ten yards he had forgotten Hartmann and had dismissed all financial care--had he not enough to carry him through the day, even should he meet no one who would pay for his dinner and his drinks? "Yes, it is a day to back myself to win--fearlessly!"

The hedge at the Cafe Boulevard was green and the tables were in the yard and on the balconies; but Feuerstein entered, seated himself in one of the smoke-fogged reading-rooms, ordered a glass of beer, and divided his attention between the Fliegende Blatter and the faces of incoming men. After half an hour two men in an arriving group of three nodded coldly to him. He waited until they were seated, then joined them and proceeded to make himself agreeable to the one who had just been introduced to him--young Horwitz, an assistant bookkeeper at a department store in Twenty-third Street. But Horwitz had a "soul," and the yearning of that secret soul was for the stage. Feuerstein did Horwitz the honor of dining with him. At a quarter past seven, with his two dollars intact, with a loan of one dollar added to it, and with five of his original ten cents, he took himself away to the theater. Afterward, by appointment, he met his new friend, and did him the honor of accompanying him to the Young German Shooters' Society ball at Terrace Garden.

It was one of those simple, entirely and genuinely gay entertainments that assemble the society of the real New York--the three and a half millions who work and play hard and live plainly and without pretense, whose ideals center about the hearth, and whose aspirations are to retire with a competence early in the afternoon of life, thenceforth placidly to assist in the prosperity of their children and to have their youth over again in their grandchildren.

Feuerstein's gaze wandered from face to face among the young women, to pause at last upon a dark, handsome, strong-looking daughter of the people. She had coal-black hair that curled about a low forehead. Her eyes were dreamy and stormy. Her mouth was sweet, if a trifle petulant. "And who is she?" he asked.

"That's Hilda Brauner," replied Horwitz. "Her father has a delicatessen in Avenue A. He's very rich--owns three flat-houses. They must bring him in at least ten thousand net, not to speak of what he makes in the store. They're fine people, those Brauners; none nicer anywhere."

"A beautiful creature," said Feuerstein, who was feeling like a prince who, for reasons of sordid necessity, had condescended to a party in Fifth Avenue. "I'd like to meet her."

"Certainly," replied Horwitz. "I'll introduce her to you."

She blushed and was painfully ill at ease in presence of his grand and lofty courtesy--she who had been used to the offhand manners which prevail wherever there is equality of the sexes and the custom of frank sociability. And when he asked her to dance she would have refused had she been able to speak at all. But he bore her off and soon made her forget herself in the happiness of being drifted in his strong arm upon the rhythmic billows of the waltz. At the end he led her to a seat and fell to complimenting her--his eyes eloquent, his voice, it seemed to her, as entrancing as the waltz music. When he spoke in German it was without the harsh sputtering and growling, the slovenly slurring and clipping to which she had been accustomed. She could answer only with monosyllables or appreciative looks, though usually she was a great talker and, as she had much common sense and not a little wit, a good talker. But her awe of him, which increased when she learned that he was on the stage, did not prevent her from getting the two main impressions he wished to make upon her--that Mr. Feuerstein was a very grand person indeed, and that he was condescending to be profoundly smitten of her charms.

From its first paragraph, The Fortune Hunter announces itself through a narrator who observes Feuerstein with a mixture of irony and detachment. The opening description of his "romantic figure" and "suspicious carelessness" sets a tone of amused scrutiny. The prose lingers on his costume and swagger, then undercuts him with the detail of his empty pockets. This narrative voice—knowing, slightly sardonic—remains consistent throughout the excerpts, shaping how readers evaluate Feuerstein's theatrical self-presentation.

Theatrical Self-Fashioning and Narrative Distance

The narrator presents Feuerstein as a man who performs his own life. His entrance is staged: he "paraded down Second Avenue" in carefully chosen clothes, his hat set "with suspicious carelessness." The narrative voice adopts a tone of cool appraisal, noting that "not an article of his visible clothing had been paid for" and that his total cash is a dime. Yet Feuerstein feels like "a king in the midst of cringing subjects." This gap between his self-image and his circumstances is the novel's central irony. The narrator never condemns him directly; instead, the description of his borrowing two dollars from an admirer—and immediately forgetting the man—reveals a casual exploitation. The voice remains detached, letting the reader judge.

Shifts in Pacing: From Swagger to Stasis

The excerpts show two distinct rhythms. The opening chapter moves briskly, following Feuerstein through the streets, his encounter with Hartmann, and his internal monologue. Sentences are short, actions sequential. But when Feuerstein confronts Hilda in the park, the pace slows dramatically. The band plays "passionate love-music with sobs and sad ecstasies," and Feuerstein delivers a speech that rises and falls "as his words and the distant music prompted him." Hilda's responses are delayed, fragmented: "I—I don't know," she says. The narrator records her physical stillness and his irritation. This contrast—between his rehearsed performance and her genuine confusion—creates a tension that the faster-paced opening does not prepare for.

Voice as a Marker of Power and Vulnerability

Feuerstein's voice is consistently theatrical, even when he tries to sound sincere. He speaks in exclamations and rhetorical questions: "Would that I did not!" and "Ah, God, whenever was there man so wretched as I?" Hilda, by contrast, speaks plainly: "Your voice don't feel like it," she says. Her language is unadorned, her sentences short. The narrator notes that Feuerstein mutters "Little stupid!" under his breath, revealing his contempt. Yet when Hilda finally blazes out—"I hate you—hate you—you never cared"—her anger breaks through his script. The narrative voice records her transformation with precision: "she blazed out before his astonished eyes, a woman electric with disdain." For a moment, the power shifts.

Structural Repetition and the Unraveling Performance

The excerpts reveal a pattern: Feuerstein repeats phrases and gestures, as if following a script. He tells Hilda "my mysterious destiny" and she interrupts: "You said that before." His performance relies on stock lines—"a specter has risen from my past," "my heart is breaking"—but Hilda's responses grow more direct. The narrator tracks this unraveling. Feuerstein's satisfaction when she sobs is undercut by her sudden fury. The scene ends with him rising to leave, a gesture that has worked before, but Hilda now calls his bluff: "Oh, you put it on well." The narrative voice, which began by describing his swagger, ends by recording his retreat.

Readers attentive to narrative voice will notice how the novel's tone shifts between ironic distance and intimate scrutiny. Feuerstein is never fully condemned, but his performances are consistently exposed. The pacing—brisk in public scenes, languid in private ones—mirrors his own control and loss of it. Pay attention to the moments when the narrator steps back and lets a character's plain speech cut through the theatricality; those are the hinges of the story.

I remember sitting with Phillips’s Fortune Hunter and feeling how the stage-managed charm of Feuerstein left the women around him somehow raw, unguarded. It reminded me of a quiet afternoon years ago with The New Magdalen — Story, Setting & Ideas, where the mask slips and someone’s real self surfaces, unexpectedly tender. Both linger like a half-heard sigh.

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