Over the Border: Acadia, the Home of "Evangeline" — A Closer Reading

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In Category - Travel Narratives
Chase, Eliza B. (Eliza Brown) Project Gutenberg 2004 Not confirmed
Nova Scotia -- Description and travel Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 34,281
Reading time 150 min
Text sections 3

For Over the Border: Acadia, the Home of "Evangeline" — A Closer Reading, the stored edition analysis reports 34,281 words, 2 hr 30 min estimated reading time, and 3 detected text sections.

The text analysis averages about 32.2 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 “Nova Scotia -- Description and travel,” connecting these edition facts with the source record’s subject description.

Eliza B. Chase's 19th-century travelogue blends personal anecdotes, local dialect, and literary allusions to guide readers through Nova Scotia's Acadian landscapes, with a focus on sites tied to Longfellow's 'Evangeline.'
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Editorial Edition Score 4.5/5

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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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hat was built in such a logical way It ran a hundred years to a day,"

and conclude that the S. H. & P. R. R. resembles it somewhat; and that, although there is a "general flavor of mild decay" about it in some respects, it will not be in danger of wearing out from high rate of speed; but who cares about _time_ when on a holiday?

At last, in the distance, a range of blue hills becomes visible, with a faint, far gleam of water; and, as the blue line abruptly descends to the glistening streak below, we know in an instant what that promontory must be, and ecstatically quote with one voice,--

"Away to the northward Blomidon rose,"

regardless of geography, as that Cape happens, in this case, to be south of us.

Having received information by mail that "hosses and carages" are to be found at Parrsboro, and that the sailing of the steamer is "rooled by the tide," eager looks are cast about on alighting at that charming village, the natives of which, to our surprise, are not backwoodsmen or rough countrymen. Mine host, genial and gentlemanly, becomes visible; and we are soon bowling merrily along through the neat village, the picturesque country beyond, and are set down at a refreshingly old-timey inn directly on the shore of the Basin of Minas, which bursts suddenly upon the view, amazing one by its extent and beauty. We exclaim in surprise, "Why, it looked no larger than one's thumb nail on the map!"

A curving beach with rolling surf, a long and very high pier, showing the great rise of the tide,--at this point sixty feet in the spring,-- and directly before one the peculiarly striking promontory of Blomidon, with the red sandstone showing through the dark pines clothing his sides, and at his feet a powerful "rip" tossing the water into chopped seas; a current so strong that a six-knot breeze is necessary to carry a vessel through the passage which here opens into the Bay of Fundy.

This is the place where schedules said nothing of a boat to convey the tourist across the inland sea--of thirty miles' width--to the railroad on its south shore,--the line which bears on its rolling stock the ominous initials W. A. R, but passes through the most peaceful country nevertheless. Yet our genial host's assurances that such a vessel will come are not to be doubted; and, after a dainty repast, a group sits on the pier, watching ghostly ships and smaller craft emerge from and vanish into the mist. As the mists disperse and the moon comes out clearly, it reveals the "Hiawatha" approaching,--a graceful propeller of five hundred tons burden, and one hundred and some odd feet in length.

Partridge Island, which is close at hand, commands exceptionally fine views, as Blomidon does also; the famous Capes d'Or and Chignecto, seven hundred and thirty to eight hundred feet high, with Advocate Harbor, are within pleasant driving distance. There are twenty varieties of minerals on Blomidon; as many more, with jaw-testing names, on Partridge Island "and thereabout"; so in this locality a geologist would become quite ecstatic. Some of the finest marine scenery of the Provinces, as well as lovely inland views and the noted and singular Five Islands, can be seen within a radius of twenty miles.

"No country is of much interest until legends and poetry have draped it in hues that mere nature cannot produce," says a pleasant modern writer.

Geologists believe that the range of hills known as the North Mountain was once a long narrow island, and that a shoal gradually formed near Blomidon, in time filling in until that headland became part of the mainland.

This striking cape, five hundred and seventy feet high, one would naturally expect to find associated with strange wild myths of the aborigines; and

"Ye who love a nation's legends, That like voices from afar off Call to us to pause and listen,"

Eliza B. Chase opens Over the Border not with a map but with a portrait: a gentleman in a gold-embroidered coat and powdered peruke hanging in Boston's Historical Society. This figure, she notes, is no tyrant but a genial presence—a quiet corrective to the grim reputation of the Acadian expulsion. The book that follows is part travel diary, part literary pilgrimage, threading through Nova Scotia's villages and shores with Longfellow's Evangeline as a constant, if sometimes ironic, companion.

Chase's voice is alert to incongruity. She records a driver who boasts of spruce-bough beds and refuses to charge board, a bridge so rickety it rattles like a fusillade, and a village where herring are called "Digby Chickens." Her observations are precise, her tone wry, and her attention to local speech and custom gives the narrative a texture that the catalog subject "Nova Scotia—Description and travel" only hints at.

A Portrait and a Counter-Portrait

The introduction uses a single painting to frame the entire journey. Chase describes the portrait's "gold embroidered coat, long vest with large and numerous buttons, elegant cocked hat under the arm, voluminous white scarf and powdered peruke"—details that signal wealth and authority. But she immediately resists the expected judgment: a physiognomist, she says, would not take this for a tyrant. The figure is instead "genial." This is a deliberate pivot. The historical figure most associated with the Acadian expulsion—Colonel John Winslow—is never named here, but the portrait belongs to someone else, perhaps a French official. Chase uses the ambiguity to suggest that the story of Acadia is not a simple morality tale. She invites readers to look past the costume and see the person, just as she will later look past the ruins and see the living communities.

Voices from the Road

Chase's narrative is thick with quoted speech. A driver explains winter logging camps: beds of "fragrant spruce boughs overlaid with straw—'Better 'n any o' your spring mattresses, I tell you!'" When asked about taking a boarder, he scoffs, "'Nothin'! Do you suppose we'd charge board? No, indeed! Just let him come.'" These exchanges are not decorative. They anchor the travelogue in specific social encounters. Chase also records place names with a folk etymology: the cove called "the Joggin" because it makes "a cut or jog-in." She notes the rickety bridge named for Queen Victoria, calling it "hardly a compliment." The effect is cumulative: the landscape is not just seen but heard, through the idioms and attitudes of its inhabitants.

Literary Layers and Local Color

Chase weaves literary references into her descriptions without forcing them. At Digby, the smell of drying herring and the sight of "clumsy and queer lumber boats" prompt a comparison to Dickens's David Copperfield—"reminiscences of 'Peggoty', 'Ham', and others." She and her companion eat in a tiny restaurant with "calico curtained alcoves," pretending to be "characters in an old English story." The allusion is playful, not scholarly. Meanwhile, Longfellow's Evangeline hovers over the entire project, but Chase does not treat it as sacred text. She quotes the poem's opening lines about Grand Pré only to contrast them with the present reality. The book's subtitle promises the "Home of 'Evangeline,'" but the text delivers a more complicated, lived-in place.

Chase's travelogue rewards readers who attend to its digressions. The chronology at the front—from De Monts' landing in 1604 to the last military occupation in 1850—provides a skeleton, but the flesh of the book is in the anecdotes, the quoted dialect, and the wry asides. Pay attention to what Chase chooses to describe in detail: a bridge's missing planks, a driver's indignation, the taste of a Digby chicken. These are the evidence of a place that resists easy summary.

I kept thinking about that old travelogue’s quiet way of lingering on places, like the soul of a landscape stays with you. Over the Border felt that way, all soft familiarity. Then I found The Land of Footprints — A Reader’s Guide, and it carries a similar gentle patience, just another kind of remembering. Some books simply stay beside you, unasked.

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