Article #333-2 | Gutenberg Articles

Excerpt

Excerpt from Robert Louis Stevenson, by Sir Walter Alexander Raleigh

ROBERT LOUIS STEVENSON

When a popular writer dies, the question it has become the fashion with a
nervous generation to ask is the question, 'Will he live?' There was no
idler question, none more hopelessly impossible and unprofitable to
answer. It is one of the many vanities of criticism to promise
immortality to the authors that it praises, to patronise a writer with
the assurance that our great-grandchildren, whose time and tastes are
thus frivolously mortgaged, will read his works with delight. But 'there
is no antidote against the opium of time, which temporally considereth
all things: our fathers find their graves in our short memories, and
sadly tell us how we may be buried in our survivors.' Let us make sure
that our sons will care for Homer before we pledge a more distant
generation to a newer cult.

Nevertheless, without handling the prickly question of literary
immortality, it is easy to recognise that the literary reputation of
Robert Louis Stevenson is made of good stuff. His fame has spread, as
lasting fame is wont to do, from the few to the many. Fifteen years ago
his essays and fanciful books of travel were treasured by a small and
discerning company of admirers; long before he chanced to fell the
British public with Treasure Island and Dr. Jekyll and Mr. Hyde he
had shown himself a delicate marksman. And although large editions are
nothing, standard editions, richly furnished and complete, are worthy of
remark. Stevenson is one of the very few authors in our literary history
who have been honoured during their lifetime by the appearance of such an
edition; the best of his public, it would seem, do not only wish to read
his works, but to possess them, and all of them, at the cost of many
pounds, in library form. It would be easy to mention more voluminous and
more popular authors than Stevenson whose publishers could not find five
subscribers for an adventure like this. He has made a brave beginning in
that race against Time which all must lose.

Explanation

**Detailed Explanation of the Excerpt from Robert Louis Stevenson by Sir Walter Alexander Raleigh**

This passage is an excerpt from Sir Walter Alexander Raleigh’s (1861–1922) critical appraisal of Robert Louis Stevenson (1850–1894), written shortly after Stevenson’s death. Raleigh, a British scholar, professor, and literary critic, reflects on Stevenson’s literary reputation, the nature of literary immortality, and the factors that contribute to an author’s enduring fame. Below is a breakdown of the text’s key ideas, themes, literary devices, and significance, with a primary focus on the passage itself.

1. Context of the Excerpt

Author & Audience: Raleigh was a prominent literary critic and historian, known for his works on Shakespeare and English literature. This passage likely comes from a memorial essay or lecture on Stevenson, written for an educated, literarily inclined audience.
Occasion: Stevenson had recently died (in 1894), and critics were assessing his legacy. Raleigh’s piece engages with the broader cultural anxiety about which writers would stand the test of time—a common preoccupation in late 19th-century literary circles, especially as mass literacy and commercial publishing expanded.
Stevenson’s Reputation: By the 1890s, Stevenson was already famous for Treasure Island (1883) and Strange Case of Dr. Jekyll and Mr. Hyde (1886), but he had also written essays, travelogues (Travels with a Donkey, 1879), and novels like Kidnapped (1886). His work straddled "high" and "popular" literature, making him a fascinating case study for critics.

2. Summary of the Passage

Raleigh’s argument unfolds in two main movements:

A. The Futility of Predicting Literary Immortality (First Paragraph)

He dismisses the fashionable question—"Will he live?"—as idle and unanswerable.
- The phrase reflects the Victorian/Edwardian obsession with canonization: which writers would be remembered as "immortal" (like Homer or Shakespeare)?
- Raleigh calls this question vanity, arguing that critics arrogantly pledge future generations’ tastes without justification.
Key Metaphor: "There is no antidote against the opium of time" (a paraphrase of Sir Thomas Browne’s Urn Burial, 1658).
- Time as a drug: Time dulls all things, erasing even great figures from memory.
- Generational forgetfulness: "Our fathers find their graves in our short memories"—each generation buries the last, just as we will be forgotten.
- Conclusion: We can’t guarantee Stevenson’s immortality, just as we can’t assume our descendants will care for Homer.

B. Stevenson’s Enduring Reputation (Second Paragraph)

Despite the uncertainty of immortality, Raleigh argues that Stevenson’s fame is "made of good stuff"—i.e., it has substance and staying power.
- Organic growth of fame: His reputation spread "from the few to the many" (a mark of lasting appeal, unlike fleeting popularity).
- Early critical acclaim: Before his mass success with Treasure Island and Dr. Jekyll and Mr. Hyde, his essays and travel writing were admired by a "small and discerning company"—proof of his literary skill beyond mere entertainment.
- Material evidence of esteem: The publication of a "standard edition" (a lavish, complete collection of his works) during his lifetime is rare and significant.
  - Most authors don’t receive such treatment until after death (if ever). Stevenson’s living fame suggests deep respect.
  - Contrast with "more voluminous and more popular authors" who couldn’t attract subscribers for such an edition—implying Stevenson’s work has quality over quantity.
- Metaphor of the race against Time: All authors lose this race, but Stevenson has "made a brave beginning"—his work is well-positioned to endure.

3. Key Themes

A. The Illusion of Literary Immortality

Raleigh critiques the hubris of critics who assume they can dictate future tastes.
Time as the great equalizer: No writer is safe from oblivion; even Homer’s survival isn’t guaranteed ("Let us make sure that our sons will care for Homer").
Generational amnesia: Each era rewrites the canon, often arbitrarily.

B. The Nature of Lasting Fame

True fame grows organically—from a discerning few to the general public (unlike fleeting bestsellers).
Quality over quantity: Stevenson’s standard edition (a mark of serious literary regard) contrasts with the mass-produced, ephemeral works of more "popular" authors.
Versatility as a strength: Stevenson was both a popular storyteller (Treasure Island) and a refined essayist—this dual appeal suggests durability.

C. The Tension Between Popular and "High" Literature

Stevenson’s work blurred the line between adventure fiction (seen as lowbrow) and literary art (respected by critics).
Raleigh implies that true reputation comes from critical admiration first, then broader appeal—not the other way around.

4. Literary Devices & Stylistic Features

Device	Example	Effect
Metaphor	"Opium of time"	Time numbs memory, making all things fade.
Allusion	Reference to Sir Thomas Browne’s "Urn Burial"	Lends authority; reinforces the idea of time’s erasure.
Paradox	"Fame has spread from the few to the many" (usually it’s the reverse)	Highlights Stevenson’s unusual path to lasting recognition.
Irony	"Large editions are nothing" (yet they signify popularity)	Undercuts superficial measures of success.
Contrast	"Voluminous and popular authors" vs. Stevenson’s standard edition	Emphasizes that depth, not volume, ensures reputation.
Personification	"Time... temporally considereth all things"	Gives time agency, making it an active, indifferent force.
Classical Reference	"Our sons will care for Homer"	Invokes the oldest "immortal" writer to question immortality itself.

5. Significance of the Passage

A. For Stevenson’s Legacy

Raleigh defends Stevenson against snobbery—some critics dismissed him as a mere adventure writer, but Raleigh highlights his literary craftsmanship (essays, travelogues).
The standard edition argument suggests Stevenson was taken seriously in his lifetime, unlike many genre writers.
The passage predicts (correctly) that Stevenson would endure, not as a "highbrow" classic but as a beloved, versatile writer.

B. For Literary Criticism

Raleigh challenges the cult of immortality, a major preoccupation in 19th-century criticism (e.g., Matthew Arnold’s "touchstones").
He separates reputation from immortality: A writer can be highly regarded in their time without being "immortal."
The distinction between popularity and lasting fame remains relevant in discussions of canon formation.

C. Broader Cultural Context

Reflects late Victorian anxieties about mass culture—would "serious" literature survive in an age of cheap novels and sensationalism?
The standard edition as a status symbol mirrors the commodification of literature—owning a luxury set of an author’s works was a mark of cultural capital.

6. Close Reading of Key Lines

"Will he live?"
- The rhetorical question frames the essay’s central tension: Can criticism guarantee immortality?
- The phrase "nervous generation" suggests anxiety about cultural decline—a fear that modern tastes were too fickle.
"There is no antidote against the opium of time"
- Drug metaphor: Time is a sedative, dulling memory.
- "Temporally considereth" (archaic phrasing) gives the line a Biblical gravity, reinforcing time’s inevitability.
"He had shown himself a delicate marksman"
- Metaphor: Stevenson’s precision (as a writer) is like a skilled archer.
- "Delicate" suggests subtlety, contrasting with the blunt force of mass-market success (Treasure Island).
"He has made a brave beginning in that race against Time which all must lose"
- Race metaphor: Life/fame is a competition, but defeat is certain.
- "Brave beginning" implies Stevenson is well-positioned, even if ultimate victory (immortality) is impossible.

7. Why This Passage Matters Today

Relevance to Canon Debates: Raleigh’s skepticism about "immortality" resonates with modern discussions of decolonizing the canon—why do we assume certain writers will always be read?
Stevenson’s Enduring Appeal: His works (Dr. Jekyll and Mr. Hyde, Treasure Island) remain widely read and adapted, proving Raleigh partly right.
The Problem of Posterity: In the age of digital ephemera, Raleigh’s warning about time’s erasure feels even more urgent—will any 21st-century writer be remembered in 100 years?

8. Final Interpretation

Raleigh’s passage is not just about Stevenson—it’s a meditation on fame, time, and criticism itself. He argues that:

No critic can promise immortality—it’s arrogant to assume we know what future generations will value.
Stevenson’s reputation is robust because it’s rooted in both critical admiration and popular appeal.
The best we can do is recognize quality in our own time—whether it lasts is beyond our control.

Ultimately, Raleigh celebrates Stevenson without mythologizing him, offering a balanced, humane approach to literary judgment that avoids both hagiography and cynicism.

Questions

Question 1

The passage’s allusion to "the opium of time" serves primarily to:

A. evoke a sense of nostalgia for a bygone era when literature was more revered.
B. illustrate the intoxicating power of Stevenson’s prose on contemporary readers.
C. underscore the inevitability of an author’s commercial success if their work is sufficiently vivid.
D. convey the inescapable erosion of memory and reputation across generations.
E. critique the passive consumption of literature by a public numbed by mass culture.

Question 2

The phrase "a delicate marksman" is most effectively interpreted as a metaphor for Stevenson’s:

A. precision in crafting prose that appeals to both discerning critics and a broader audience.
B. ability to target the vulnerabilities of Victorian moral hypocrisy in his fiction.
C. strategic avoidance of controversial themes to ensure his works’ longevity.
D. skill in blending historical accuracy with imaginative storytelling.
E. tendency to write in a style that, while elegant, lacked the boldness of his peers.

Question 3

Raleigh’s assertion that "large editions are nothing" primarily functions to:

A. dismiss the relevance of quantitative measures of an author’s success.
B. contrast the fleeting nature of mass-market appeal with the permanence of critical acclaim.
C. imply that the material investment in a "standard edition" signals a deeper, more enduring cultural valuation.
D. suggest that Stevenson’s works, despite their popularity, were not widely read in his lifetime.
E. argue that the physical production of books is irrelevant to the intrinsic quality of the writing.

Question 4

The passage’s structure—moving from a dismissal of literary immortality to an affirmation of Stevenson’s reputation—is best described as:

A. a concession followed by a rebuttal, where the initial skepticism is entirely undermined.
B. a dialectical progression, where the tension between ephemerality and endurance is left unresolved.
C. an inductive argument, building from specific examples to a general theory of canon formation.
D. a rhetorical feint, where the apparent modesty of the first paragraph masks an uncritical celebration.
E. a paradoxical inversion, where the rejection of immortality becomes the basis for claiming it.

Question 5

Which of the following best captures the passage’s implicit critique of contemporary literary criticism?

A. Critics often conflate their own preferences with objective judgments of lasting value.
B. The focus on "immortality" reflects a commercialized literary culture obsessed with legacy.
C. Modern critics lack the historical perspective to recognize true genius in their own time.
D. The democratization of readership has diluted the standards by which literature is judged.
E. Literary reputation is now determined more by marketing than by intrinsic merit.

Solutions and Explanations

1) Correct answer: D

Why D is most correct: The phrase "the opium of time" is a metaphor for the inexorable fading of memory and reputation—time acts as a sedative that dulls the remembrance of even the most celebrated figures. This aligns with Raleigh’s broader argument that no author is immune to oblivion, regardless of their contemporary acclaim. The allusion to Browne’s "Urn Burial" (where the original phrase appears) reinforces the idea of time’s corrosive effect on human legacies, making D the most textually and thematically grounded choice.