Wood and Stone: A Romance — Reading Companion
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This digital edition of Wood and Stone: A Romance — Reading Companion is described by source-level measurements including 201,835 words, 14 hr 38 min estimated reading time, and 18 detected text sections.
The text analysis averages about 17.4 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 “Wessex (England) -- Fiction,” connecting these edition facts with the source record’s subject description.
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opularly known as being “like a Greek god.” The elder, tall, swarthy, and sinister, suggested rather the image of some gloomy idol carved on the wall of an Assyrian temple. What, however, was much more remarkable than their appearance was their devoted attachment to one another. They lived, worked, ate, drank, walked and slept together. It was impossible to separate them. Had Mr. Lickwit dismissed James, Luke would immediately have thrown down his tools. Had Luke been the banished one, James would have followed him into exile.
It had fallen to Mr. Romer, some seven years before our narrative begins, to appoint a new vicar to Nevilton; and he had appointed one of such fierce ascetic zeal and such pronounced socialistic sympathies, that he had done nothing since but vehemently and bitterly repent his choice.
The Promoter of Companies had been betrayed into this blunder by the impulse of revengeful caprice, the only impulse in his otherwise well-balanced nature that might be termed dangerous to himself.
He had quarrelled with the bishop over some matter connected with his stone-works; and in order to cause this distinguished prelate grief and annoyance he had looked about for someone to honour who was under the episcopal ban. The bishop, however, was of so discreet a temper and so popular in his diocese that the only rebel to his authority that could be discovered was one of the curates of a church at Yeoborough who had insisted upon preaching the Roman doctrine of Transubstantiation.
The matter would probably have lapsed into quiescence, save for the crafty interference in the local newspaper of a group of aggressive Nonconformists, who took this opportunity of sowing desirable dissension between the higher and lower orders of the hated Establishment.
Mr. Romer, who, like Gallio, cared for none of these things, and was at heart a good deal worse than a Nonconformist, seized upon the chance offered by the death of Nevilton’s vicar; and installed as his successor this rebel to ecclesiastical authority.
Once installed, however, the Rev. Hugh Clavering speedily came to an understanding with his bishop; compromised on the matter of preaching Transubstantiation; and apparently was allowed to go on believing in it.
And it was then that the Promoter of Companies learned for the first time how much easier it is to make a priest than to unmake him. For situation after situation arose in which the master of the Leonian quarries found himself confronted by an alien Power--a Power that refused to worship Sandstone. Before this rupture, however, the young Priest had persuaded Mr. Romer to let him live in the Old Vicarage, a small but cheerful house just opposite the church door. The orthodox vicarage, a rambling Early Victorian structure standing in its own grounds at the end of the West Drive, was let--once more at the Priest’s suggestion--to the last living representatives of the dispossessed Seldoms.
It indicated a good deal of spirit on the part of Valentia Seldom and her daughter thus to return to the home of their ancestors.
Mrs. Seldom was a cousin of the man who had sold the estate. Her daughter Vennie, brought up in a school at Florence, had never seen Nevilton, and it was with the idea of taking advantage for the girl’s sake of their old prestige in that corner of England that Valentia accepted Mr. Romer’s offer and became the vicarage tenant.
The quarry-owner himself was influenced in carrying through this affair, by his anxiety, for the sake of _his_ daughter, to secure a firmer footing with the aristocracy of the neighborhood. Here again, however, he was destined to disappointment: for once in possession of her twenty years’ lease the old lady showed not the least intention of letting herself be used as a social stepping-stone.
She had, indeed, under her own roof, cause enough for preoccupation and concern.
Her daughter--a little ghost-moth of a girl, of fragile delicacy--seemed entirely devoid of that mysterious magnetic attraction which lures to the side of most virgins the devotion of the opposite sex. She appeared perfectly content to remain forever in her tender maidenhood, and refused to exert the slightest effort to be “nice” to the charming young people her mother threw in her way. She belonged to that class of young girls who seem to be set apart by nature for other purposes than those of the propagation of the race.
Her wistful spirit, shrinking into itself like the leaves of a sensitive plant at the least approach of a rough hand, responded only to one passionate impulse, the impulse of religion.
John Cowper Powys's Wood and Stone: A Romance opens with a preface that directly frames the narrative as an inquiry into Nietzsche's distinction between the 'well-constituted' and 'ill-constituted,' asking whether the universe's secret is Power or Love—or a reconciliation of both. The novel then plunges into the Nevilton valley, where the wealthy Mortimer Romer, a 'born master of men,' nurses a grudge against the frail Lacrima Traffio, a 'child of the Apennine ridges.' Powys describes their conflict as a 'planetary opposition,' driven by 'pre-natal incarnation' and cosmic forces beyond mere social rank. The prose is dense with philosophical speculation and elemental imagery, setting a tone that is both intellectual and mythic.
The Preface as Philosophical Compass
The preface is not a mere authorial aside; it is a deliberate entry point into the novel's central tension. Powys poses four hypotheses: a universe ruled by Power (Nietzsche's will to power), one ruled by Love (self-abandonment), a chaotic universe with no inner fatality, or a subtle reconciliation between the two. He warns that 'every kind of drastic and clinching formula breaks down' under the pressure of life, and that art alone can follow 'the incalculable movements of the Force.' Readers should treat this preface as a thematic key: the ensuing story will test these ideas through character and incident, not through argument. The novel's subtitle, 'A Romance,' may be ironic, given the philosophical weight.
Planetary Opposition and Psychic Conflict
In the excerpt, Powys introduces the conflict between Mortimer Romer and Lacrima Traffio as a 'planetary opposition' rooted in a 'pre-natal incarnation.' He describes how Romer's will, once thwarted by Lacrima on a 'subliminal or interior plane,' cannot rest until it achieves 'complete revenge.' The language is striking: Romer's will is like a 'satisfied tidal wave' that must drown all barricades. Powys insists that conventional differences of rank are 'as nothing' compared to these cosmic tides. This framing elevates a personal grudge into a metaphysical struggle, suggesting that the novel's drama operates on multiple levels—psychological, elemental, and astrological. Readers should watch for how this opposition unfolds, especially whether Lacrima's apparent weakness conceals a different kind of power.
The Nevilton Valley as a Concentrated Stage
The setting of the Nevilton valley is not merely a backdrop but an active force. Powys writes that the valley 'draws to itself' and 'focuses strangely' these elemental oppositions. To rise above the 'clash of the Two Mythologies' on this spot, one would need to ascend 'incredibly high into that star-sown space above,' where even the solar system becomes 'less than a cluster of wayward fireflies.' This cosmic perspective diminishes the characters to 'summer-midges,' yet their struggles are treated with utmost seriousness. The valley thus functions as a microcosm where universal forces play out. The novel's title, Wood and Stone, may allude to the natural materials of the landscape, grounding the metaphysical in the physical.
Nietzschean Echoes and the Will to Power
Powys explicitly invokes Nietzsche in the preface, and the excerpt on Romer's will to power reads like a fictional illustration of Nietzschean psychology. Romer is described as a 'born master of men' whose aggressive instincts are as 'obdurate' as any commercial rival. His need to 'recover the feeling of identity with himself' after being thwarted drives him to seek 'complete revenge.' This aligns with Nietzsche's concept of ressentiment—the weak (Lacrima) provoke the strong, but the strong's response reveals their own dependence on opposition. Yet Powys complicates this by suggesting that both are 'puppets and pawns of elemental forces.' The novel may thus critique or expand Nietzsche's framework, testing whether the will to power can coexist with the will to love.
Readers approaching Wood and Stone should attend to the interplay between the preface's philosophical questions and the narrative's concrete details. Powys's prose is dense with metaphor and cosmic allusion, but the story is grounded in the specific landscape of Wessex. The conflict between Romer and Lacrima is both personal and archetypal; watching how Powys balances these levels will illuminate his answer to the Nietzschean problem. The novel rewards patience and a willingness to engage with its speculative, mythic mode.
Reading Wood and Stone, I recall my grandfather’s quiet hands planing oak, his will to shape, not to conquer. That same tension surfaced years later in Defoe’s The History and Remarkable Life of the Truly Honourable Colonel Jacque, Commonly Called Colonel Jack — Reading Notes, where survival and honesty tangle like roots in the same soil. Both leave me pausing, listening for what remains unsaid.
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