Midnight Rider

“During all of which time the said Hannah Andrews shall well and faithfully serve the household of Governor Gage and everywhere and at all times obey his lawful commands. She shall do no damage to General Gage, nor willfully suffer any to be done by others.”

The formal, legal language of Hannah’s indenture contract establishes the rigid parameters of her bondage. The repetition of the word “shall” functions as both legal terminology and a rhetorical device that implacably robs Hannah of freedom. This document signifies Hannah’s commodification, proving that her aunt has sold her into servitude, just like Promise. The scene therefore introduces the parallel between Hannah’s personal servitude and America’s colonial relationship with Britain. The language also raises questions about what constitutes “damage” and “lawful commands,” foreshadowing Hannah’s future resistance to these unjust circumstances.

“Peering out at Hannah from the opening of the farthest stall was a pale golden horse with a mane the color of corn silk. Was this a real horse? It looked like the foal of a unicorn, except that there was no horn protruding from its fine-boned head.”

The introduction of Gabriel employs vivid, mythological imagery that contrasts with the practical, restrictive environment of Hannah’s servitude. The rhetorical question (“Was this a real horse?”) and comparison to a unicorn establish Gabriel as a creature of wonder and possibly freedom, for although he is isolated and wild, the narrative suggests that he exists in a realm beyond ordinary constraints. The golden coloring and “fine-boned head” suggest nobility and rarity, and the encounter introduces the novel’s focus on horses as a collective symbol of liberation and agency.

“Hannah put her hand out to the horse, who watched her curiously.

‘Don’t touch him! He bites,’ Caleb warned.

‘I’d like him to be my friend.’

Caleb laughed. ‘Aye, and I’d like to sit on King George’s throne.’”

Hannah’s desire to befriend the untamable horse contrasts with Caleb’s warning, highlighting her determination despite potential danger. Caleb’s sarcastic comparison between befriending Gabriel and sitting on King George’s throne creates an ironic political allusion that foreshadows the novel’s dominant revolutionary themes. The exchange also employs dramatic irony, given that Hannah’s special connection to horses is already known, even though Caleb dismisses her abilities. This interaction establishes Hannah’s willingness to defy conventional limitations and authority, a characteristic that will later extend to her political awakening.

“‘I do not allow him to graze with other horses. He must be kept separate and disciplined, for his own good.’

‘Like servants and masters, I suppose,’ Hannah said.”

Hannah’s bold comparison between Gabriel’s cruel confinement and the dynamics of human servitude directly articulates the theme of bondage and control that pervades the novel. Her spontaneous, unfiltered response to General Gage reveals her growing political awareness as she openly points out the parallels between different forms of subjugation. The general’s euphemistic justification “for his own good” mirrors the paternalistic arguments that he and his ilk use to justify colonial rule and existing social hierarchies; this exchange therefore exposes the self-serving nature of such claims. Hannah’s statement functions as a form of verbal irony that momentarily disrupts the power dynamics by forcing General Gage to recognize uncomfortable similarities between his treatment of animals and his treatment of humans whom he considers to be beneath him.

“Hannah recalled Will telling her about the quartering act. She was beginning to understand more clearly the demands and restrictions placed upon Bostonians by the king. She was American but she was also a British subject. Aunt Phoebe was a Loyalist and rigid in her beliefs. She wondered what her father and mother’s allegiance would have been and where her own loyalties should lie.”

This passage marks a pivotal moment in Hannah’s political awakening as she witnesses the shadow play’s critique of British rule. Her internal questioning reveals her developing awareness of her own political identity amid the turmoil of Boston, introducing the theme of Navigating the Challenges of Divided Loyalties. Her reflection juxtaposes her American birth with her status as a “British subject,” linguistically embodying the division that she feels. The reference to her deceased parents suggests that Hannah must now define her own political identity rather than inheriting one that is ready-made.

“Hannah bristled. ‘Then Americans are indentured servants, just as I am.’

Caleb nodded. ‘Aye, we’re all indentured to England.’”

This dialogue creates a direct parallel between Hannah’s personal bondage and America’s political relationship with England, embodying the theme of Personal Bondage as a Mirror for Political Oppression. The author uses Hannah’s visceral reaction of “bristling” to show her growing identification with the Patriot cause. The metaphor of indentured servitude thus becomes a powerful conceptual framework through which Hannah understands both her personal circumstances and the broader political conflict. This realization transforms abstract political concepts into personal experiences for Hannah, marking a crucial step in her development from an apolitical girl into a powerfully motivated patriot.

“Mrs. Gage went to the window and looked out. ‘It hurts me to know how much the Americans hate the British.’ When she turned back to the girls, Hannah could see tears in her eyes. ‘I am an American. But I’m British, too. I seem to be caught between two fires.’”

Mrs. Gage’s confession complicates the novel’s portrayal of the British-American conflict by revealing the existence of dual identities and divided loyalties. The metaphor of being “caught between two fires” effectively conveys both the emotional and physical danger of her position. Her tears humanize the British perspective, challenging simplistic patriotic narratives and adding moral complexity to the revolutionary conflict.

“Meg went to the bird and tapped the cage with her fingers. ‘Poor little bird,’ she purred. ‘You and I are prisoners here, aren’t we?’ Meg watched Hannah for a long moment. ‘We are each prisoners in our own way, Hannah,’ she said.”

This interaction uses the caged bird as a symbol of the characters’ various forms of confinement, from Meg’s restricted movement within the Province House to Hannah’s indentured servitude and the colonists’ political constraints. The dialogue also reveals that Meg does possess a measure of empathy and self-awareness, even if her sentiment also reflects her frustration at her own situation. The rhetorical technique of personifying the bird by addressing it directly and comparing it to herself creates a triangular dynamic that allows Meg to indirectly express her vulnerability to Hannah. This action suggests that even those with relative privilege experience limitations on their freedom.

“Hannah sank back on her chair. Caleb and Will were willing to risk their lives for freedom. Freedom! Wasn’t that what Hannah wanted too? ‘I would like to help you with the handbills,’ she said, ‘but there’s no way out of here now.’”

This passage marks Hannah’s transition from passive observer to potential activist in the Patriot cause. The exclamation of “Freedom!” and the subsequent rhetorical question reveal Hannah’s epiphany that her personal desire for liberty aligns with the colonists’ broader political struggle. The author structures this as a moment of realization combined with an offer to act, showing that Hannah is Finding Personal Growth Amid Political Awakening. The irony of her concluding statement about having “no way out” operates on multiple levels, as she literally cannot escape from the Province House, and she also laments her abstract but all-consuming powerlessness as an indentured servant.

“Still, knowing that she could get out of the Province House whenever she needed to gave her a sense of freedom.”

As Hannah navigates the dark tunnel that connects the Province House to Baker’s Alley, her thoughts establish the secret tunnel as a literal escape route and a metaphor for her psychological resistance to her indentured status. The author uses this interior thought to develop the theme of personal bondage as a mirror for political oppression, showing that even the mere awareness of possible escape provides a form of psychological liberation.

“‘If you’ll excuse me, sir, my father always told me that whipping a horse isn’t the way to win its loyalty,’ Hannah said.”

Hannah speaks these words to General Gage when he threatens to whip his frightened stallion, Gabriel. Her quiet but emphatic statement reveals her more principled approach to horsemanship while simultaneously establishing her as someone who is willing to challenge authority figures when their actions contradict her values. The author uses this scene to forge a parallel between horse-training methods and governance styles, implicitly contrasting coercive control with earned respect. Hannah’s invocation of her father’s teachings also adds emotional weight to her statement, connecting her equestrian knowledge to her family heritage.

“The spirit of liberty. It sounded wonderful. Hannah suddenly remembered a scripture she had read with her mother: Proclaim liberty throughout the land and to all the inhabitants thereof. Would there ever be a day when Americans would be free?”

This passage captures Hannah’s awakening political consciousness as she reflects on Caleb’s mention of “the spirit of liberty.” The biblical allusion to Leviticus 25:10 (the passage inscribed on the Liberty Bell) elevates the colonial struggle from mere political dispute to sacred cause. The author uses this passage to reveal Hannah’s internal questioning and emerging identification with the Patriot cause, and the rhetorical question demonstrates her decision to become an active participant in the broader push for American independence.

“Mrs. Gage, a slight frown on her face, snatched the messages from Hannah’s hand and examined the open letter. She laughed nervously. ‘I was so concerned about using the correct words for Miss Wheatley’s invitation that I must have neglected to write the message at all!’”

Hannah has discovered that Mrs. Gage’s letter contains only an embossed lavender iris and no written message. This exchange introduces the motif of coded communication while revealing Mrs. Gage’s possible role as a secret informant. The author uses physical details such as a “slight frown” and nervous laugh to signal that Mrs. Gage’s explanation is false. This scene creates dramatic irony, for although Hannah has yet to grasp the nuances of the moment, Harlow’s narrative suggests that Mrs. Gage holds divided loyalties.

“‘I don’t know why we are celebrating an American holiday,’ Miss Lydia complained […] ‘We bend over backward to appease these American bumpkins!’

Mrs. Gage had entered the room from the front hallway, and she gave Miss Lydia an icy stare. ‘I happen to be an American!’”

This exchange occurs as the Province House prepares for the Thanksgiving celebrations. Mrs. Gage’s sharp retort reveals her complex identity as an American-born wife of a British general. The author uses this confrontation to exemplify the theme of Navigating the Challenges of Divided Loyalties. Mrs. Gage’s emphatic self-identification as American despite her position in British society foreshadows her possible role as Dr. Warren’s informant.

“Mrs. Gage quoted Shakespeare in a low voice: ‘Upon my knee I beg, go not to arms.’ A long silence fell on the room. Then Mrs. Gage spoke again. ‘I pray my husband will never be the instrument that sacrifices the lives of my countrymen.’”

This emotionally charged moment reveals Mrs. Gage’s struggle between the two different sides of her identity. The Shakespeare quotation functions as foreshadowing and acts as a literary device that elevates her personal conflict to a more universal level. Her prayer about her husband reveals the painful position of those who are caught between opposing sides of a conflict, unable to fully commit to either one without betraying part of themselves.

“Meg’s face lit up. She stood, held her skirt prettily, and whirled around. ‘If I were in England, I might be invited to the royal court. Perhaps I’d find another earl, or even better, a count. He would promise me anything! I could become a countess! Wouldn’t that be elegant, Hannah?’

Hannah shrugged. ‘My dreams are far different from yours, Miss Meg.’

‘Oh? What do servants like you wish for?’

Hannah answered without an instant’s hesitation. ‘Freedom.’”

The stark contrast between Meg’s elaborate fantasies and Hannah’s one-word response crystallizes the girls’ fundamentally different worldviews. Hannah’s immediate answer demonstrates how deeply she values the elusive goal of liberty, creating a verbal parallel to the American colonial struggle. This exchange also illuminates the theme of personal bondage as a mirror for political oppression, showing that Hannah’s personal desire for self-determination is very similar to the broader revolutionary cause.

“‘I know who it was, Will,’ she whispered, returning to her senses. ‘It was Dr. Church. I saw him shake hands with General Gage, and I’m positive he is the informant that tells General Gage everything that’s going on with the Sons of Liberty.’

‘No!’ said Will in a low voice. ‘In no way would he betray us! He swears on the Bible at every meeting that he will never reveal what’s going on.’”

This scene employs dramatic irony, given that Harlow has already established the accuracy of Hannah’s assessment. Her gender and social status render her an outsider among the male-dominated world of American revolutionaries, and she repeatedly finds her warnings minimized or disregarded altogether. Given the certainty of Dr. Church’s treachery, Will’s reference to Dr. Church’s willingness to swear on the Bible implicitly casts Dr. Church in the role of Judas, the disciple whom the Bible describes as betraying Jesus.

“Suddenly Hannah realized why! General Gage feared that once Paul Revere knew about the mission, he would ride out to Salem and bring the warning as he had done in Portsmouth. But if Mr. Revere and his men went to Castle William beforehand, they would be captured by the British, arrested for trespassing, and kept on the island until after the Sabbath. He was heading straight into a trap!”

This moment of revelation demonstrates Hannah’s political savvy as she successfully decodes a complex military deception. The exclamation point and the use of the word “suddenly” emphasize the epiphany’s immediacy and create a sense of urgency. Hannah’s ability to synthesize disparate pieces of information shows her talent for espionage, and her decisive analysis galvanizes her into making the dangerous ride to Salem herself.

“Promise balked at her command and tossed his head, flinging a spray of snow from his mane onto Hannah’s face. […] Once again she tugged the reins to the left. This time Promise pulled to the right. ‘We should take the other road? Is that what you’re trying to tell me?’

She pulled the reins to the right, and Promise obediently moved in that direction. ‘Oh, I see!’ she exclaimed. ‘You know the road to Salem. What a clever horse you are!’”

This scene elevates Promise, showing him to be capable of exerting his own agency in specific situations. The scene also reflects the author’s use of personification, which elevates Promise to near-human status and showcases the deep bond between girl and horse.

“Colonel Leslie stood at the embankment and looked down at three large gundalows along the shore. ‘Seize those boats and cross!’ he demanded.

Several foot soldiers dashed to obey his orders, but the Salem fishermen heard too and jumped into the boats. Some of the regulars charged after them, but they were too late. Already the fishermen had punched holes in the bottoms with picks and bayonets, and the boats were filling with water and sinking fast.”

This passage showcases the colonists’ resourcefulness and determination as they resist British authority. The fishermen’s decisive action to sabotage their own property rather than allowing British to use it represents the idea of making sacrifices for liberty. The author employs short, action-oriented sentences with active verbs to build tension and convey the urgency of this pivotal confrontation.

“‘Nonsense!’ Miss Lydia exclaimed with a wave of her hand. ‘Everyone who works for the general and his wife admires and respects them. No one here would ever betray these kind people.’

Hannah looked down at her tea. Yes, she had carried the warning to Salem. Yes, she had helped the cause of freedom. But it was also true that General Gage had been kind to her, giving her easier work as Meg’s chambermaid and letting her keep Gypsy. Mrs. Gage trusted her with her secret letters. And what about Meg? Meg regarded Hannah as her friend.

Hannah sat in the kitchen of the Province House feeling like a traitor.”

This passage reveals Hannah’s internal conflict between political conviction and personal loyalty. The repetition of the word “Yes” in her internal monologue shows that she acknowledges her actions, while the contrasting “But” introduces her conflicting feelings of gratitude. The final sentence also delivers the emotional impact of her moral dilemma, with the word “traitor” ironically underscoring the paradoxical reality that her patriotic act feels like a betrayal on an interpersonal level.

“Hannah pulled the breeches on over her skirt, thrust her arms into the jacket, and donned Will’s gold-braided tricorn hat. Then running back into the mansion she pushed her way to the reception hall, where Will was being bound up.

‘Stop!’ she called in Hans’s voice as she stood before them. ‘I am the one who brought the alarm to Salem. I am the Midnight Rider!’”

This dramatic moment represents Hannah’s act of courage as she claims responsibility for her actions in order to save Will from being punished in her place. The active verbs (“pulled,” “thrust,” “donned,” “pushed”) convey her determination, and when she gives her declaration in “Hans’s voice,” she publicly embraces her dual identity. Likewise, her repetition of “I am” emphasizes her assertion of agency as she publicly owns her resistance to British authority.

“‘Sweet, sweet angel horse,’ she crooned, ‘please let me ride you.’

Gradually she moved to the stallion’s left side, all the while stroking and whispering. She grasped the stirrup. Gabriel sidestepped with a snort. ‘There, there, you golden beauty, we are going to fly up to the sun. That’s where you came from, Gabriel. From the gold of the sun.’ The horse stood silently as she mounted him.”

This passage showcases Hannah’s special connection with horses through gentle, poetic language that contrasts with the tense situation. The author employs sensory details and lyrical dialogue to illustrate Hannah’s method of calming the wild stallion. Her metaphorical association of Gabriel with the sun also invokes a mythic quality that elevates the horse to a symbol of freedom and beauty.