The Lion and the Unicorn — Key Ideas to Explore

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Davis, Richard Harding, 1864-1916 Project Gutenberg 1999 Not confirmed
Short stories, American; Manners and customs -- Fiction Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 42,219
Reading time 184 min
Text sections 5

For The Lion and the Unicorn — Key Ideas to Explore, the stored edition analysis reports 42,219 words, 3 hr 4 min estimated reading time, and 5 detected text sections.

The text analysis averages about 18.9 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 “Short stories, American,” connecting these edition facts with the source record’s subject description.

Davis's collection uses a framing device of a lion and unicorn statue observing a soldier's fate, then shifts to stories of war, imprisonment, and social conscience, with vivid physical details like handcuff scars and a grieving woman taking a photograph.
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Editorial Edition Score 4.7/5

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  • Description quality20 pts
  • Title & short description10 pts
  • Source metadata20 pts
  • Text length15 pts
  • Chapters / structure15 pts
  • EPUB file integrity20 pts

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Prentiss had a long lease on the house, and because it stood in Jermyn Street the upper floors were, as a matter of course, turned into lodgings for single gentlemen; and because Prentiss was a Florist to the Queen, he placed a lion and unicorn over his flowershop, just in front of the middle window on the first floor. By stretching a little, each of them could see into the window just beyond him, and could hear all that was said inside; and such things as they saw and heard during the reign of Captain Carrington, who moved in at the same time they did! By day the table in the centre of the room was covered with maps, and the Captain sat with a box of pins, with different-colored flags wrapped around them, and amused himself by sticking them in the maps and measuring the spaces in between, swearing meanwhile to himself. It was a selfish amusement, but it appeared to be the Captain’s only intellectual pursuit, for at night, the maps were rolled up, and a green cloth was spread across the table, and there was much company and popping of soda-bottles, and little heaps of gold and silver were moved this way and that across the cloth. The smoke drifted out of the open windows, and the laughter of the Captain’s guests rang out loudly in the empty street, so that the policeman halted and raised his eyes reprovingly to the lighted windows, and cabmen drew up beneath them and lay in wait, dozing on their folded arms, for the Captain’s guests to depart. The Lion and the Unicorn were rather ashamed of the scandal of it, and they were glad when, one day, the Captain went away with his tin boxes and gun-cases piled high on a four-wheeler.

Prentiss stood on the sidewalk and said: “I wish you good luck, sir.” And the Captain said: “I’m coming back a Major, Prentiss.” But he never came back. And one day--the Lion remembered the day very well, for on that same day the newsboys ran up and down Jermyn Street shouting out the news of “a ’orrible disaster” to the British arms. It was then that a young lady came to the door in a hansom, and Prentiss went out to meet her and led her upstairs. They heard him unlock the Captain’s door and say, “This is his room, miss,” and after he had gone they watched her standing quite still by the centre table. She stood there for a very long time looking slowly about her, and then she took a photograph of the Captain from the frame on the mantel and slipped it into her pocket, and when she went out again her veil was down, and she was crying. She must have given Prentiss as much as a sovereign, for he called her “Your ladyship,” which he never did under a sovereign.

And she drove off, and they never saw her again either, nor could they hear the address she gave the cabman. But it was somewhere up St. John’s Wood way.

After that the rooms were empty for some months, and the Lion and the Unicorn were forced to amuse themselves with the beautiful ladies and smart-looking men who came to Prentiss to buy flowers and “buttonholes,” and the little round baskets of strawberries, and even the peaches at three shillings each, which looked so tempting as they lay in the window, wrapped up in cotton-wool, like jewels of great price.

Then Philip Carroll, the American gentleman, came, and they heard Prentiss telling him that those rooms had always let for five guineas a week, which they knew was not true; but they also knew that in the economy of nations there must always be a higher price for the rich American, or else why was he given that strange accent, except to betray him into the hands of the London shopkeeper, and the London cabby?

The American walked to the window toward the west, which was the window nearest the Lion, and looked out into the graveyard of St. James’s Church, that stretched between their street and Piccadilly.

“You’re lucky in having a bit of green to look out on,” he said to Prentiss. “I’ll take these rooms--at five guineas. That’s more than they’re worth, you know, but as I know it, too, your conscience needn’t trouble you.”

The title story opens with a peculiar narrative perspective: a lion and unicorn carved above a Jermyn Street florist shop watch the comings and goings of Captain Carrington, a soldier who maps campaigns by day and gambles by night. The statues note his departure for war, a young woman who later retrieves his photograph while crying, and newsboys shouting of a “’orrible disaster” to British arms. This framing device—inanimate objects as witnesses—gives the collection an ironic distance from the human dramas it records.

Davis’s prose is direct and scene-driven, favoring concrete details over psychological interiority. In the excerpt from another story, a senator encounters a ragged young man whose wrists are “gashed and cut in dark-brown lines” from being tied behind a horse; a sergeant mistakes the scars for handcuff marks. The dialogue carries the weight of exposition, and the settings—a carriage in falling snow, a room with maps and soda-bottles—are sketched with economical precision.

Witnesses and Watchers

The lion and unicorn of the title story are not merely decorative; they function as silent observers whose shame at the Captain’s “scandal” hints at a moral judgment embedded in the narrative structure. Davis uses their fixed vantage to filter events—the maps, the gambling, the woman’s grief—without entering any character’s mind. This technique recurs in the collection: the senator in the second excerpt watches Arkwright’s hands with “mingled fascination and disgust,” and the policemen close in with professional suspicion. The reader, too, is placed in the position of an onlooker, piecing together meaning from gestures and fragments.

The excerpts offer no resolution for the Captain or Arkwright; the stories are left open, their outcomes implied by the newsboy’s cry and the senator’s shiver. Davis trusts the reader to infer the weight of what is seen but not narrated.

Bodies as Evidence

Physical marks carry the stories’ moral and political arguments. Arkwright’s scarred wrists are the centerpiece of the second excerpt: the sergeant misreads them as criminal stigmata, while the senator recoils. The young man explains they were made by “ropes and leather thongs” during his imprisonment in Cuba, and he offers to guide the senator to the island so that he can “come back as one speaking with authority.” The body becomes a document of atrocity, more persuasive than secondhand reports.

Similarly, the Captain’s room—with its maps, pins, and flags—is a material record of his intellectual life, and the woman’s act of taking his photograph is a silent testimony to loss. Davis does not describe her face or her words; the veil and the crying are enough.

War at a Distance

War in these excerpts is never shown directly. It arrives as newsprint (“’orrible disaster”), as aftermath (the Captain never returns), or as testimony (Arkwright’s account of the fusillade and the band playing to drown out cries of “Cuba Libre”). The settings are urban and domestic: a London street, a carriage, a room above a shop. The violence is reported, not staged, and the characters who have experienced it are marked by their bodies and their stories.

This indirect treatment aligns with the catalog subject “Manners and customs – Fiction.” Davis is less interested in battle than in how civilians—the florist, the senator, the young men at the carriage window—encounter the consequences of war. The lion and unicorn, as permanent fixtures, underscore the contrast between the enduring city and the transient soldiers who pass beneath them.

Readers should pay attention to the framing devices and physical details that Davis uses to convey meaning without explicit commentary. The stories reward attention to what is seen and overheard rather than what is stated. Because the excerpts are incomplete, the collection’s full range—including stories like “On the Fever Ship” and “The Vagrant”—may introduce other settings and techniques not represented here.

Reading about the handcuff scars and that grieving woman’s photograph, I was struck by how quietly Davis lets his characters carry their secrets. It made me think of a different kind of concealment—a woman remaking herself whole cloth, which The New Magdalen — Story, Setting & Ideas explores with such gentle irony. Both books hold their woundedness close, waiting for a glance to unlock it.

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