Ruth Fielding on Cliff Island; Or, The Old Hunter's Treasure Box — Text and Context

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In Category - School Stories
Emerson, Alice B. Project Gutenberg 2005 Not confirmed
Friendship -- Juvenile fiction; Charity -- Juvenile fiction; Fielding, Ruth (Fictitious character) -- Juvenile fiction; Boarding school students -- Juvenile fiction Readers of public-domain and historical texts
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Words 44,089
Reading time 192 min
Text sections 5

This digital edition of Ruth Fielding on Cliff Island; Or, The Old Hunter's Treasure Box — Text and Context is described by source-level measurements including 44,089 words, 3 hr 12 min estimated reading time, and 5 detected text sections.

The text analysis averages about 12.6 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 “Friendship -- Juvenile fiction,” connecting these edition facts with the source record’s subject description.

This editorial note examines the narrative voice and pacing in Alice B. Emerson's Ruth Fielding on Cliff Island, focusing on how dialogue, action sequences, and descriptive passages shift rhythm to build suspense around Jerry Sheming's escape and the treasure box.
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I. THE WRECK AT APPLEGATE CROSSING 1

II. THE PANTHER AT LARGE 9

III. UNCLE JABEZ HAS TWO OPINIONS 17

IV. ON THE WAY TO BRIARWOOD 26

V. A LONG LOOK AHEAD 35

VI. PICKING UP THE THREADS 42

VII. "A HARD ROW TO HOE" 49

VIII. JERRY SHEMING AGAIN 57

IX. RUTH'S LITTLE PLOT 66

X. AN EXCITING FINISH 73

XI. A NUMBER OF THINGS 82

XII. RUFUS BLENT'S LITTLE WAYS 90

XIII. FIGHTING FIRE WITH FIRE 98

XIV. THE HUE AND CRY 106

XV. OVER THE PRECIPICE 115

XVI. HIDE AND SEEK 124

XVII. CHRISTMAS MORNING 133

XVIII. FUN ON THE ICE 143

XIX. BLENT IS MASTER 150

XX. THE FISHING PARTY 157

XXI. JERRY'S CAVE 166

XXIII. "A BLOW FOR LIBERTY" 181

XXIV. A MIDNIGHT MARAUDER 189

XXV. THE TREASURE BOX 197

RUTH FIELDING ON CLIFF ISLAND

THE WRECK AT APPLEGATE CROSSING

A September morning has dawned, with only a vague tang of autumn in the air. In the green old dooryard at the Red Mill, under the spreading shade trees, two girls are shelling a great basket of dried lima beans for the winter's store.

The smaller, black-haired girl begins the conversation.

"Suppose Jane Ann doesn't come, Ruth?"

"You mean on this morning train?" responded the plumper and more mature-looking girl, whose frank face was particularly attractive.

"Then Tom said he would go back to meet the evening train--and we'll go with him," said Ruth Fielding, with a smile. "But I could not go this morning and leave poor Aunt Alvirah all these beans to shell."

"Of course not," agreed her friend, promptly. "And Jane Ann won't feel offended by our not meeting her at Cheslow, I know."

"No, indeed, Helen," laughed Ruth. "Jane Ann Hicks is altogether too sensible a girl."

"Sensible about everything but her name," commented Helen Cameron, making a little face.

"And one can scarcely blame her. It _is_ ugly," Ruth responded, with a sigh. "Jane Ann Hicks! Dear, dear! how could her Uncle Bill be so thoughtless as to name her that, when she was left, helpless, to his care?"

"He didn't realize that fashions in names change--like everything else," observed Helen, briskly.

"I wonder what the girls at Briarwood will say to that name," Ruth pondered.

"Why The Fox and Heavy will help us make the other girls toe the mark. And Madge Steele! She's a regiment in herself," declared Helen. "We all had such a fine time at Silver Ranch that the least we can do is to see that Jane Ann is not hazed like the other infants."

"I expect we all have to stand our share of hazing when we go into fresh company," said Ruth, reflectively. "But there will not be the same crowd to meet her that met us, dear."

"And the Sweetbriars will be on hand to preserve order," laughed her chum. "Thanks to _you_, Ruthie. Why--oh! see Tom!"

She jumped up, dropping a lapful of pods, and pointed up the Cheslow road, which here branched from the river road almost opposite the Red Mill.

"What is the matter?" demanded Ruth, also scrambling to her feet.

A big touring car was approaching at top speed. They could see that the only person in it was a black-haired boy, who sat at the steering wheel.

He brought the machine to an abrupt stop before the gate, and leaped out. Tearing off his goggles as he ran, he approached the two girls in such a state of excitement that he could scarce speak coherently.

"Oh, Tom! what is it?" gasped Helen, seizing his arm with both hands.

It took but a single glance to discover the relationship between them. Twins never looked more alike--only Tom's features lacked the delicacy of outline which belonged to his sister.

"Tom!" cried Ruth, on the other side of the excited youth, "don't keep us on tenter-hooks. Surely nothing has happened to Jane Ann?"

"I don't know! They won't tell us much about it at the station," exclaimed the boy.

"There hasn't been a wreck?" demanded Ruth.

"Yes. At Applegate Crossing. And it is the train from the west that is in trouble with a freight. A rear-end collision, I understand."

"Suppose something has happened to the poor girl!" wailed Helen.

"We must go and see," declared Ruth, quick to decide in an emergency. "You must drive us, Tom."

"That's what I came back for," replied Tom Cameron, mopping his brow. "I couldn't get anything out of Mercy's father----"

"Of course not," Helen said, briskly, as Ruth ran to the house. "The railroad employes are forbidden to talk when there is an accident. Mr. Curtis might lose his job as station agent at Cheslow if he answered all queries."

Ruth came flying back from the house. She had merely called into the kitchen to Aunt Alvirah that they were off--and their destination. While Tom sprang in and manipulated the self-starter, his sister and the girl of the Red Mill took their seats in the tonneau.

By the time old Aunt Alvirah had hobbled to the porch, the automobile was being turned, and backed, and then it was off, up the river road. Uncle Jabez, in his dusty garments, appeared for a moment at the door of the mill as they flashed past in the big motor car. Evidently he was amazed to see the three--the girls hatless--starting off at such a pace in the Camerons' car.

Tom threw in the clutch at high speed and the car bounded over the road, gradually increasing its pace until the hum of the engine almost drowned out all speech. The girls asked no questions. They knew that, by following the river road along the placid Lumano for some distance, they could take a fork toward the railway and reach Applegate Crossing much quicker than by going through Cheslow.

Once Tom flung back a word or two over his shoulder. No relief train had gone from their home station to the scene of the wreck. It was understood that a wrecking gang, and doctors, and nurses, had started from the distant city before ever the Cheslow people learned of the trouble.

"Oh! if Jane Ann should be hurt!" murmured Helen for the twentieth time.

"Uncle Bill Hicks would be heartbroken," agreed Ruth.

Although the crossroad, when they struck into it at the Forks, was not so smooth and well-built as the river highway, Tom did not reduce speed. Mile after mile rolled away behind them. From a low ridge they caught a glimpse of the cut where the two trains had come together.

It was the old story of a freight being dilatory in getting out of a block that had been opened for the passage of an express. The express had run her nose into the caboose of the freight, and more harm was done to the freight than to the passenger cars. A great crowd, however, had gathered about.

Tom ran the car into an open lot beside the tracks, where part of the railroad fence had been torn away. Two passenger cars were on their sides, and one or two of the box cars had burst open.

"Look at that!" gasped the boy, whose bright eyes took in much that the girls missed, for _they_ were looking for Jane Ann Hicks. "That's a menagerie car--and it's all smashed. See! 'Rival's Circus & Menagerie.' Crickey! suppose some of the savage animals are loose!"

"Oh! don't suggest such a thing," begged his sister.

Tom saw an excited crowd of men near the broken cage cars of the traveling menagerie. Down in the gully that was here crossed by the narrow span of the railroad trestle, there was a thick jungle of saplings and brush out of which a few taller trees rose, their spreading limbs almost touching the sides of the ravine.

It must be confessed that the boy was drawn more toward this point of interest than toward the passenger train where Jane Ann might possibly be lying injured. But Ruth and Helen ran toward this latter spot, where the crowd of passengers was thickest.

Suddenly the crowd parted and the girls saw a figure lying on the ground, with a girl about their own age bending over it. Ruth screamed, "Jinny!" and at the sound of the pet name her uncle's cow punchers had given her, the girl from Silver Ranch responded with an echoing cry.

"Oh, Ruth! And Helen! I'm not hurt--only scratched. But this poor fellow----"

"Who is he?" demanded Helen Cameron, as she and Ruth arrived beside their friend.

The figure on the ground was a very young man--a boy, in fact. He was roughly dressed, and sturdily built. His eyes were closed and he was very pale.

"He got me out of the window when the car turned over," gasped Jane Ann. "Then he fell with me and has either broken his leg, or twisted it----"

"Only strained, Miss," spoke the victim of the accident, opening his eyes suddenly. Ruth saw that they were kind, brown eyes, with a deal of patience in their glance. He was not the sort of chap to make much of a trifle.

"But you can't walk on it," exclaimed Jane Ann, who was a large-framed girl with even blacker hair than Helen's--straight as an Indian's--and with flashing eyes. She was expensively dressed, although her torn frock and coat were not in very good taste. She showed plainly a lack of that motherly oversight all girls need.

"They'll come and fix me up after a time," said the strange youth, patiently.

"That won't do," declared Ruth, quickly. "I suppose the doctors are busy up there with other passengers?"

"Oh, yes," admitted Jane Ann. "Lots of people were hurt in the cars a good deal worse than Mr.--Mr.----?"

"My name's Jerry Sheming, Miss," said the youth. "Don't you worry about me."

"Here's Tom!" cried Helen. "Can't we lift him into the car? We'll run to Cheslow and let Dr. Davison look at his leg," she added.

Tom, understanding the difficulty at a glance, agreed. Between the four young folk they managed to carry Jerry Sheming to the car. They had scarcely got him into the tonneau when a series of yells arose from the crowd down near the derailed freight train.

"Look out! Take care of that panther! I told you she was out!" shouted one voice above the general uproar.

Ruth Fielding and her friends, startled indeed, ran to the brow of the hill. One of the wide-branched trees rose from the bottom of the ravine right below them. Along one of the branches lay a long, cat-like body.

"A black panther!" gasped Tom.

"Say! let's get out of here!" exclaimed the girl from the West. "I don't want to be eaten up by that cat--and Uncle Bill would make an awful row over it. Come on!"

She seized Ruth's hand and, leaving Tom to drag his sister with him, set off at full speed for the motor car, wherein Jerry Sheming, the stranger, still lay helpless.

Helen was breathless from laughter when she reached the car. Jane Ann's desire not to be eaten up by the panther because of what Mr. Bill Hicks, of Bullhide, Montana, would say, was so amusing that Tom's twin forgot her fright.

"Stop your fooling and get in there--quick!" commanded the anxious boy, pushing his sister into the tonneau. With the injured Jerry, the back of the car was well filled. Tom leaped into the front seat and tried to start the car.

"Quick, Tom!" begged Ruth Fielding. "There's the panther."

"Panther! What panther?" demanded Jerry, starting up in his seat.

The lithe, black beast appeared just then over the brow of the hill. The men who had started after the beast were below in the ravine, yelling, and driving the creature toward them. The motor car was the nearest object to attract the great cat's wrath, and there is no wild beast more savage and treacherous.

Tom was having trouble in starting the car. Besides, it was headed directly for the huge cat, and the latter undoubtedly had fastened its cruel gaze upon the big car and its frightened occupants.

Ruth Fielding and her friends had been in serious difficulties before. They had even (in the woods of the Northern Adirondacks and in the foothills of the Montana Rockies) met peril in a somewhat similar form. But here, with the panther creeping toward them, foot by foot, the young friends had no weapon of defense.

Ruth had often proved herself both a courageous and a sensible girl. Coming from her old home where her parents had died, a year and a half before, she had received shelter at the Red Mill, belonging to her great uncle, Jabez Potter, at first as an object of charity, for Uncle Jabez was a miserly and ill-tempered old fellow. The adventures of the first book of this series, entitled "Ruth Fielding of the Red Mill; Or, Jasper Parloe's Secret," narrate how Ruth won her way--in a measure, at least--to her uncle's heart.

Ruth made friends quickly with Helen and Tom Cameron, and when, the year previous, Helen had gone to Briarwood Hall to school, Ruth had gone with her, and the fun, friendships, rivalries, and adventures of their first term at boarding school are related in "Ruth Fielding at Briarwood Hall; Or, Solving the Campus Mystery."

In "Ruth Fielding at Snow Camp; Or, Lost in the Backwoods," the third volume of the series, are told the mid-winter sports of our heroine and her friends; and later, after the school year is concluded, we find them all at the seaside home of one of the Briarwood girls, and follow them through the excitement and incidents of "Ruth Fielding at Lighthouse Point; Or, Nita, the Girl Castaway."

When our present story opens Ruth and the Camerons have just returned from the West, where they had spent a part of the summer vacation with Jane Ann Hicks, and their many adventures are fully related in the fifth volume of the series, entitled "Ruth Fielding at Silver Ranch; Or, Schoolgirls Among the Cowboys."

Few perils they had faced, however, equalled this present incident. The black panther, its gleaming eyes fixed upon the stalled motor car and the young folk in it, crouched for only a moment, with lashing tail and bared fangs.

Uttering another half-stifled snarl, the beast bounded into the air. The distance was too great for the brute to pass immediately to the car; but it was plain that one more leap would bring her aboard.

"Start it! Quick, Tom!" gasped Helen.

"I--I can't!" groaned her brother.

"Then we must run----"

"Sit still!" commanded Jane Ann, with fire in her eye. "I'm not going to run from that cat. I hate 'em, anyway----"

"We can't leave Mr. Sheming," said Ruth, decidedly. "Try again, Tommy."

"Oh, don't bother about me," groaned the young man, who was still a stranger to them. "Don't be caught here on my account."

"It will not do us any good to run," cried Ruth, sensibly. "Oh, Tommy!"

And then the engine started. The electric starter had worked at last. Tom threw in his clutch and the car lunged ahead just as the snarling cat sprang into the air again.

The cat and the car were approaching each other, head on. The creature could not change its course; nor could Tom Cameron veer the car very well on this rough ground.

He had meant to turn the car in a big circle and make for the road again. But that flashing black body darting through the air was enough to shake the nerve of anybody. The car "wabbled." It shot towards the tracks, and then back again.

Perhaps that was a happy circumstance, after all. For as the car swerved, there was a splintering crash, and the windshield was shivered. The body of the panther shot to one side and the motor car escaped the full shock of the charge.

Over and over upon the ground the panther rolled; and off toward the road, in a long, sweeping curve, darted the automobile.

"Lucky escape!" Tom shouted, turning his blazing face once to look back at the party in his car.

"Oh! More than luck, Tommy!" returned Ruth, earnestly.

"It was providential," declared Helen, shrinking into her seat again and beginning to tremble, now that the danger was past.

"Good hunting!" exclaimed the girl from the ranch. "Think of charging a wildcat with one of these smoke wagons! My! wouldn't it make Bashful Ike's eyes bulge out? I reckon he wouldn't believe we had such hunting here in the East--eh?" and her laugh broke the spell of fear that had clutched them all.

"That critter beats the biggest bobcat I ever heard of," remarked Jerry Sheming. "Why! a catamount isn't in it with that black beast."

"Where'd it go?" asked Tom, quite taken up with the running of the car.

"Back to the ravine," said Ruth. "Oh! I hope it will do no damage before it is caught."

Just now the four young friends had something more immediate to think about. This Jerry Sheming had been "playing 'possum." Suddenly they found that he lay back in the tonneau, quite insensible.

"Oh, oh!" gasped Helen. "What shall we do? He is--Oh, Ruth! he isn't _dead_?"

"Of a strained leg?" demanded Jane Ann, in some disgust.

"But he looks so white," said Helen, plaintively.

"He's just knocked out. It's hurt him lots more than he let on," declared the girl from Silver Ranch, who had seen many a man suffer in silence until he lost the grip on himself--as this youth had.

In half an hour the car stopped before Dr. Davison's gate--the gate with the green lamps. Jerry Sheming had come to his senses long since and seemed more troubled by the fact that he had fainted than by the injury to his leg.

Ruth, by a few searching questions, had learned something of his story, too. He had not been a passenger on the train in which Jane Ann was riding when the wreck occurred. Indeed, he hadn't owned carfare between stations, as he expressed it.

"I was hoofin' it from Cheslow to Grading. I heard of a job up at Grading--and I needed that job," Jerry had observed, drily.

This was enough to tell Ruth Fielding what was needed. When Dr. Davison asked where the young fellow belonged, Ruth broke in with:

"He's going to the mill with me. You come after us, Doctor, if you think he ought to go to bed before his leg is treated."

"What do you reckon your folks will say, Miss?" groaned the injured youth. And even Helen and Tom looked surprised.

"Aunt Alvirah will nurse you," laughed Ruth. "As for Uncle Jabez----"

"It will do Uncle Jabez good," put in Dr. Davison, confidently. "That's right, Ruthie. You take him along to your house. I'll come right out behind you and will be there almost before Tom, here, and your uncle's Ben can get our patient to bed."

It had already been arranged that Jane Ann should go on to Outlook, the Camerons' home. She would remain there with the twins for the few days intervening before the young folk went back to school--the girls to Briarwood, and Tom to Seven Oaks, the military academy he had entered when his sister and Ruth went to their boarding school.

"How you will ever get your baggage--and in what shape--we can only guess," Tom said to the Western girl, grinning over his shoulder as the car flew on toward the Red Mill. "Guess you'll have to bid a fond farewell to all the glad rags you brought with you, and put on some of Ruth's, or Helen's."

"I'd look nice; wouldn't I?" she scoffed, tossing her head. "If I don't get my trunks I'll sue the railroad company."

The car arrived before the gate of the cottage. There was the basket of beans just where Ruth and Helen had left them. And Aunt Alvirah came hobbling to the door again, murmuring, "Oh, my back! and oh, my bones!" and quite amazed when she saw Ben come running to help Tom Cameron into the house with the youth from the railroad wreck.

"Though, landy's sake! I don't know what your Uncle Jabez will say when he comes back from town and finds this boy in the best bed," grumbled Aunt Alvirah, after a bit, when she and Ruth were left alone with Jerry Sheming, and the others had gone on in the car, hurrying so as not to be late for luncheon at Outlook.

UNCLE JABEZ HAS TWO OPINIONS

Dr. Davison came, found that Jerry's leg was not broken, left liniment, some quieting medicine to use if the patient could not sleep, and went away. Still Uncle Jabez had not returned from town.

The opening chapter of Ruth Fielding on Cliff Island establishes a leisurely, domestic pace: two girls shelling lima beans in a September dooryard, their conversation drifting toward a friend's arrival. The voice is warm and unhurried, with Ruth Fielding presented as sensible and mature. Yet this calm is deceptive. Within a few chapters, the narrative accelerates sharply, shifting from bean-shelling to a panther at large, a wreck at Applegate Crossing, and a frantic hide-and-seek across an island. The change in pace is not merely a plot device—it reflects a deliberate modulation of narrative voice, from the measured tones of everyday boarding-school life to the clipped, urgent exchanges of a chase.

From Domestic Calm to Urgent Action

The early chapters rely on extended dialogue and descriptive pauses. Ruth and Helen’s exchange about Jane Ann Hicks is unhurried, with details like “the green old dooryard at the Red Mill” and “a great basket of dried lima beans” anchoring the scene in a stable, familiar world. The narrator’s voice matches this stability—full of gentle asides and character observations. But by Chapter XIV, “The Hue and Cry,” the prose tightens. Sentences grow shorter: “The punt bumped. Such a scrambling as there was!” Action verbs dominate. Dialogue becomes terse, often interrupted by dashes or exclamations: “Do be careful, boys,” begged Mrs. Tingley. “Don’t fall into the water, or get hurt.” The shift mirrors the characters’ own transition from routine to crisis, and the narrative voice follows suit, shedding its earlier expansiveness for a breathless, present-tense urgency.

Voice Through Dialogue: Character and Tension

Emerson differentiates characters largely through their speech patterns. Ruth’s dialogue is measured and considerate—she says “with a smile” and uses qualifiers like “I know.” Helen, by contrast, is more impulsive, making “a little face” at names she dislikes. The villainous Rufus Blent speaks in a snarling, fragmented cadence: “I tell ye, Preston, I gotter take that boy back to Logwood with me.” His threats are punctuated by imperatives and repetitions (“You got to get him. Now mind that.”), creating a sense of relentless pressure. Tom Cameron’s dialogue is conspiratorial and quick, often delivered in whispers or asides. The narrative voice itself shifts to match these tones—when Blent speaks, the prose becomes choppier, mirroring his agitation. This vocal layering keeps the reader attuned to alliances and dangers without explicit exposition.

Pacing and the Mechanics of Suspense

The middle chapters demonstrate a careful control of pacing through scene length and paragraph structure. Chapter XIII ends with a short, cliffhanger paragraph: “How? You leave that to me,” Tom returned, mysteriously. The next chapter opens with a time jump—“Ruth and Tom Cameron had no further opportunity of speaking together until the punt came very close to the island”—which compresses elapsed time and heightens anticipation. Within the island sequence, Emerson alternates between rapid action (the scramble ashore) and tense standoffs (Blent’s interrogation of the foreman). The description of the lodge is deliberately detailed—“Big beams crossed at the corners… the outer walls were of roughly hewn logs”—slowing the pace just before the confrontation. This rhythmic variation keeps the reader off-balance, never settling into a single tempo for long.

Readers attentive to narrative voice will notice how Emerson uses shifts in sentence length and dialogue density to signal turning points. The treasure box of the subtitle is less a physical object than a MacGuffin that drives the pacing; the real treasure may be the way the story’s rhythm mirrors the characters’ growing desperation. Pay attention to moments when the prose suddenly slows—these often precede a revelation or a reversal. The book rewards a second reading focused purely on how Emerson controls time on the page.

Reading the pacing around Jerry’s escape—the way the island’s quiet can snap into frantic chase—I kept thinking of that other wintery tale, Winter Adventures of Three Boys in the Great Lone Land — Text and Context. It shares that same breath-hold between long, cold describing and sudden movement, like remembering how stillness itself can feel like waiting.

Isaac Thompson
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William Smith
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3 weeks ago

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