The Pardoner's Wallet — A Reader’s Guide

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Crothers, Samuel McChord, 1857-1927 Project Gutenberg 2024 Not confirmed
American essays -- 20th century Readers of public-domain and historical texts
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Words 60,584
Reading time 264 min
Text sections 15

The catalog record for The Pardoner's Wallet — A Reader’s Guide provides practical reading context through 60,584 words, 4 hr 24 min estimated reading time, and 15 detected text sections.

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Samuel McChord Crothers's 1905 essay collection uses the persona of a pardoner to examine human foibles with wit and charity. The essays explore unseasonable virtues, prejudices, fallacies, and the difficulty of peacemaking, all marked by a conversational, ironic voice that shifts between playful satire and earnest reflection.
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eral loss of confidence on the part of the purchasing public; and at last in the days of the too enterprising Tetzel there came a disastrous slump. There was no market for pardons, even of the gilt-edged varieties. Since then very little has been doing in this line, at least among the northern nations.

The pardoner richly deserved his fate. And yet there are times when one would give something to see the merry knave coming down the road.

I suppose that the nature of each individual has its point of moral saturation. When this point is reached, it is of no use to continue exhortation or rebuke or any kind of didactic effort. Even the finest quality of righteous indignation will no longer soak in. With me the point of moral saturation comes when I attend successively more meetings of a reformatory and denunciatory character than nature intended me to profit by. If they are well distributed in point of time, I can take in a considerable number of good causes and earnestly reprobate an equal number of crying evils. But there is a certain monotony of rebuke which I am sure is not beneficial to persons of my disposition. That some things are wrong I admit, but when I am peremptorily ordered to believe that everything is wrong, it arouses in me a certain obstinacy of contradiction. I might be led to such a belief, but I will not be driven to it. I rebel against those censors of manners and morals who treat all human imperfectnesses with equal rigor. To relax even for an instant the righteous frown over the things that are going wrong, into an indulgent smile at the things that are not nearly so bad as they seem, is in their eyes nothing less than compounding a felony. If they would allow proper intervals between protests, so that the conscience could cool down, all would be well. But this is just what they will not allow. The wheels must go round without intermission until progress is stopped by the disagreeable accident of “a hot box.”

You remember after Mrs. Proudie had given her guests a severe lesson in social ethics, the Signora asked in her hearing,--

“‘Is she always like this?’

“‘Yes--always--madam,’ said Mrs. Proudie, returning; ‘always the same--always equally adverse to impropriety of conduct of every description.’”

Mrs. Proudie was an excellent woman according to her light, yet Barchester would have been a happier place to live in had her light been less constant. A little flicker now and then, a momentary relief from the glare, would have been appreciated.

It is when the note of personal responsibility has been forced beyond my ability that I feel beneath my inherited Puritanism the stirring of a vague Papistry. Instead of joining another protesting society beginning with that feverish particle “anti,” how delightful it would be to go out and dicker with a well-conditioned pardoner

Streight comen fro the Court of Rome!

Wearied with diatribes and resolutions, one falls back upon the guileless bargainings of Simple Simon.

“Let me taste your ware,” say I.

“Show me first your penny,” says the pardoner.

There is a renewal of one’s youth in this immortal repartee.

There is no greater relief than to go out and buy something, especially if one can buy it cheap. A great part of the attractiveness of the mediæval indulgences lay in the fact that you could buy them. They would not have seemed the same if they had been given away, or if you had to work them out like a road tax. To go out and buy a little heart’s ease was an enticement.

Then again, the natural man, when he has to do with an institution, is in a passive rather than in an active mood. If it is instituted for his betterment, he says, “Let it better me.” It seems too bad that in the end it should throw all the responsibility back upon himself.

A delightful old English traveler criticises the methods of transportation he found in vogue in parts of Germany. He says that on the Rhine it was customary to make the passengers do the rowing. “Their custome is that the passengers must exercise themselves with oares and rowing, _alternis vicibus_, a couple together. So that the master of the boate (who methinks in honestie ought either to do it himself or to procure some others to do it for him) never roweth but when his turne commeth. This exercise both for recreation and health sake is I confesse very convenient for man. But to be tied unto it by way of strict necessitie when one payeth well for his passage was a thing that did not a little distaste my humour.”

Samuel McChord Crothers opens The Pardoner's Wallet by invoking Chaucer's pardoner, a "glib-tongued fellow peddling religious articles," but quickly turns the metaphor inward: the essays that follow are themselves a kind of pardoner's wares, offered with self-aware irony. The preface admits the collection is "a fortuitous collection of essays" with no obvious design, yet claims a "community of interest" in excusable human foibles. This framing sets the tone for a work that is at once critical and charitable, scholarly and familiar.

The Pardoner as a Narrative Frame

The title figure is not a character in the essays but a rhetorical device. Crothers borrows Chaucer's pardoner to license his own blend of moral commentary and playful self-deprecation. In the opening essay, he notes that the medieval pardoner "took advantage of their weaknesses" by selling indulgences to credulous country people, yet the author's own project—selling essays on human nature—is presented with a wink. The preface insists that if the author "touches upon the foibles of his betters, he at least has the grace to know that they are his betters." This ironic posture recurs throughout: Crothers adopts the pardoner's voice to critique without preaching, and to acknowledge his own complicity in the very failings he examines.

Shifts in Pace and Register

The essays vary markedly in tempo and tone. Early pieces like "Unseasonable Virtues" and "An Hour with Our Prejudices" move at a brisk, conversational clip, with short paragraphs and aphoristic turns. Later essays, such as "The Land of the Large and Charitable Air," adopt a more expansive, lyrical rhythm. In that essay, Crothers describes America as a continental expanse where "the fear of the lean kine is dispelled" and the land offers "a challenge and an invitation." The prose here becomes almost Whitmanesque, with long, rolling sentences and catalogues of scenery. This shift from tight argument to open description mirrors the thematic movement from individual foibles to national character, and it gives the collection a dynamic, unhurried quality that rewards patient reading.

Concrete Detail and Figurative Language

Crothers grounds his abstract reflections in vivid, specific images. In "The Land of the Large and Charitable Air," he contrasts the snug insularity of Britain—"the tumultuous privacy of storm"—with the vast openness of America, where the Mississippi valley offers "fields of wheat and corn" that stretch for days. He quotes Longfellow and Tennyson to evoke Spain and the American West, but his own prose is equally pictorial: the New England hymn-writer who "described New England and called it America" is gently mocked for provincialism. These concrete references—rocks and rills, templed hills, the Red River valley without a stone—give the essays a tactile immediacy. The recurring motif of the "wallet" itself, a pardoner's bag "bretful of pardoun," serves as a unifying image for the collection's miscellaneous contents.

Readers will find that The Pardoner's Wallet rewards attention to its shifts in voice and pace. Crothers moves easily from the aphoristic to the lyrical, and his essays, though occasional in origin, cohere through a consistent ironic stance. The book is best approached not as a systematic treatise but as a series of conversations with a learned, witty companion who knows his own limitations.

Crothers’s pardoner never scolds; he just tilts his head and notices. That reminded me of sitting on my grandfather’s porch last autumn, rereading old margins in Literary and Social Essays — his penciled “yes” beside a quiet passage. Both books felt less like instruction and more like someone keeping me company with their own half-finished thoughts. Literary and Social Essays — Edition Insights left that same warm, unhurried ache.

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