The Travelling Thirds — Themes and Context

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Atherton, Gertrude Franklin Horn, 1857-1948 Project Gutenberg 2015 Not confirmed
Voyages and travels -- Fiction; Americans -- Spain -- Fiction Readers of public-domain and historical texts
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Words 55,232
Reading time 241 min
Text sections 26

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Gertrude Atherton's 1905 novel follows young Californian Catalina as she travels through Spain with her wealthy relatives, the Moultons, and encounters a mysterious man named Over. The excerpts reveal a tension between American propriety and European freedom, with vivid descriptions of Spanish settings.
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Editorial Edition Score 4.9/5

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e-and-golden prettiness there was neither question nor enthusiasm, and her thin, graceful figure and alertly poised head received such enhancement as her slender purse afforded. She wore—need I record it?—a travelling-suit of dark-blue brilliantine, short—but at least three inches longer than Catalina’s—and a large hat about whose brim fluttered a blue veil. She admired and a little feared the recent acquisition from California, experiencing for the first time in her life a pleasing suspense in the vagaries of an unusual character. She and all that hitherto pertained to her belonged to that highly refined middle class nowhere so formal and exacting as in the land of the free.

Catalina, who never permitted her relatives to suspect that she was shy, assumed her most stolid expression and abrupt tones.

“It is simple enough. We can go to Spain if we travel third class, and we can’t if we don’t. I want to see Spain more than any country in Europe. I have heard you say more than once that you were wild to see it—the Alhambra and all that—well, anxious, then,” as Mrs. Moulton raised a protesting eyebrow. “I’m wild, if you like. I’d walk, go on mule-back; in short, I’ll go alone if you won’t take me.”

“You will do what?” The color came into Mrs. Moulton’s faded cheek, and she squared herself as for an encounter. Open friction was infrequent, for Mrs. Moulton was nothing if not diplomatic, and Catalina was indifferent. Nevertheless, encounters there had been, and at the finish the Californian had invariably held the middle of the field, insolent and victorious; and Mrs. Moulton had registered a vow that sooner or later she would wave the colors over the prostrate foe.

For thirty-two years she had merged, submerged, her individuality, but in these last four months she had been possessed by a waxing revolt, of an almost passionate desire for a victorious moment. It was her first trip abroad, and she had followed where her energetic husband and daughters listed. Hardly once had she been consulted. Perhaps, removed for the first time from the stultifying environment of habit, she had come to realize what slight rewards are the woman’s who flings her very soul at the feet of others. It was too late to attempt to be an individual in her own family; even did she find the courage she must continue to accept their excessive care—she had a mild form of invalidism—and endeavor to feel grateful that she was owned by the kindest of husbands, and daughters no more selfish than the average; but since the advent of Catalina all the rebellion left in her had become compact and alert. Here was an utterly antagonistic temperament, one beyond her comprehension, individual in a fashion that offended every sensibility; cool, wary, insolently suggesting that she purposed to stalk through life in that hideous get-up, pursuing the unorthodox. She was not only indomitable youth but indomitable savagery, and Mrs. Moulton, of the old and cold Eastern civilization, bristled with a thrill that was almost rapture whenever this unwelcome relative of her husband stared at her in contemptuous silence.

“You will do what? The suggestion that we travel third class is offensive enough—but are you aware that Spanish women never travel even first class alone?”

“I don’t see what that has to do with me. I’m not Spanish; they would assume that I was ‘no lady’ and take no further notice of me; or, if they did—well, I can take care of myself. As for travelling third class, I can’t see that it is any more undignified than travelling second, and its chief recommendations, after its cheapness, are that it won’t be so deadly respectable as second, and that we’ll meet nice, dirty, picturesque, excitable peasants instead of dowdy middle-class people who want all the windows shut. The third-class carriages are generally big, open cars like ours, with wooden seats—no microbes—and at this time of the year all the windows will be open. Now, you can think it over. I am going to invest twenty francs in a Baedeker and study my route.”

She nodded to Mr. Moulton, dropped an almost imperceptible eyelash at Lydia, and, ignoring the others, strode off belligerently towards the Place Bellecour.

Mrs. Moulton turned white. She set her lips. “I shall not go,” she announced.

The novel opens with a striking contrast between the Moulton family's stiff American propriety and their California cousin Catalina's relaxed posture: "her feet boyishly asunder, her head thrown back." The setting—Lyons, France, under acacia trees—immediately establishes a sensory richness that the Moultons seem to resist. Mrs. Moulton's "pale-blue gaze" disapproves of Catalina's "short skirt and the covert coat of ungraceful length," while Catalina herself is described as a "happy pagan," meditating escape to another grove. This initial scene sets up a central tension: Catalina's independent spirit versus the constraints of her relatives' expectations.

Catalina's Defiant Independence

From the first chapter, Catalina asserts her autonomy. When Mr. Moulton calls her over with a voice that "told that he had led in family prayers these many years," she does not immediately comply. Later, after separating from the Moultons, she tells Over: "I went directly to the archbishop and told him as much as was necessary, using as passport a circular letter the fathers of the mission of Santa Barbara had given me." This resourcefulness—finding shelter with the Señora Villéna—shows her ability to navigate foreign systems. She also declares, "Nothing shall cheat me out of Granada," even if it means traveling alone. Her determination is matched by a pragmatic awareness of social norms; she blushes when Over offers to accompany her, but does not refuse outright.

The Moultons as Foils

The Moulton family serves as a counterpoint to Catalina's adventurousness. Mrs. Moulton's disapproval is palpable: her senses would "resent" the acacia's fragrance "as immoral." Mr. Moulton, though more sympathetic, speaks in a "roll and cadence" that suggests habitual authority. The narrator notes that the Moultons "had hushed in thought their four variations on the aggressive American key," implying a collective, grating presence. When Catalina disappears, Mr. Moulton admits he was "very uneasy," but his concern is tempered by his knowledge of her "good sense, familiarity with the language, and winning manner." The Moultons plan to flee Spain for Italy, fearing "Jesus Maria" (likely a reference to bandits or religious fervor), while Catalina insists on staying.

The Role of Setting and Scent

Atherton uses sensory details to anchor the narrative. The acacia trees in Lyons are described as "thick white clusters ... drooping abundantly, opaque and luminous in the soft masses of green, heavy with perfume." This lushness contrasts with the Moultons' emotional sterility. Later, in Madrid, the atmosphere shifts: the bullfight is anticipated as "a part of Spain," and Catalina's mantilla and duenna signal her immersion in local custom. The excerpts suggest that setting is not mere backdrop but an active force, shaping characters' moods and decisions. The "intoxicating fragrance" of acacia seems to liberate Catalina, while the Moultons remain "insensible to the voluptuous offering."

Tensions Between Protection and Freedom

The relationship between Catalina and Over introduces a complex dynamic of protection versus independence. Over tells her, "If you forbid me to travel with you, well and good. I shall merely follow—that is to say, be your companion on the trains." He offers brotherly protection, but his persistence hints at deeper interest. Catalina's response—"For the first time her eyes fell before his"—suggests both gratitude and discomfort. The excerpts do not reveal Over's full motives or background, but his role as a shadowy guardian creates narrative tension. Meanwhile, Catalina's longing for liberty is clear: "At Granada I know of a pension, and liberty will be sweet again." The novel seems to explore how a woman can navigate foreign spaces while maintaining autonomy.

These excerpts offer a window into a novel that balances travelogue, social commentary, and a hint of romance. Readers should attend to how Atherton uses physical details—clothing, posture, scent—to reveal character and conflict. The incomplete text leaves many questions unanswered: What is Over's true purpose? Will Catalina reach Granada? But the vivid opening and the charged exchanges between characters provide enough to engage a first-time reader curious about early twentieth-century American women abroad.

Reading about Catalina’s restless glances past the Moultons’ propriety, I found myself thinking of another kind of confinement. There is a particular quiet in watching someone grasp for a freedom they cannot name. It reminded me, somehow, of the steady, almost weary hand of Devlin the Barber — Inside the Classic, where every small gesture seems to hold a hidden, patient weight.

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