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Excerpt ​

Excerpt from Prince Otto, a Romance, by Robert Louis Stevenson

At last, after so many years, I have the pleasure of re-introducing you
to ‘Prince Otto,’ whom you will remember a very little fellow, no bigger
in fact than a few sheets of memoranda written for me by your kind hand.
The sight of his name will carry you back to an old wooden house
embowered in creepers; a house that was far gone in the respectable
stages of antiquity and seemed indissoluble from the green garden in
which it stood, and that yet was a sea-traveller in its younger days, and
had come round the Horn piecemeal in the belly of a ship, and might have
heard the seamen stamping and shouting and the note of the boatswain’s
whistle. It will recall to you the nondescript inhabitants now so widely
scattered:—the two horses, the dog, and the four cats, some of them still
looking in your face as you read these lines;—the poor lady, so
unfortunately married to an author;—the China boy, by this time, perhaps,
baiting his line by the banks of a river in the Flowery Land;—and in
particular the Scot who was then sick apparently unto death, and whom you
did so much to cheer and keep in good behaviour.

You may remember that he was full of ambitions and designs: so soon as he
had his health again completely, you may remember the fortune he was to
earn, the journeys he was to go upon, the delights he was to enjoy and
confer, and (among other matters) the masterpiece he was to make of
‘Prince Otto’!

Well, we will not give in that we are finally beaten. We read together
in those days the story of Braddock, and how, as he was carried dying
from the scene of his defeat, he promised himself to do better another
time: a story that will always touch a brave heart, and a dying speech
worthy of a more fortunate commander. I try to be of Braddock’s mind. I
still mean to get my health again; I still purpose, by hook or crook,
this book or the next, to launch a masterpiece; and I still
intend—somehow, some time or other—to see your face and to hold your
hand.

Explanation ​

Detailed Explanation of the Excerpt from Prince Otto, a Romance by Robert Louis Stevenson ​

This passage is the preface to Prince Otto (1885), a lesser-known novel by Robert Louis Stevenson, best remembered for works like Treasure Island (1883) and Strange Case of Dr. Jekyll and Mr. Hyde (1886). Written in a personal, reflective, and almost conversational tone, the excerpt serves as both a dedication to an unnamed friend (likely Sidney Colvin, Stevenson’s close confidant and literary advisor) and a meditation on ambition, failure, resilience, and the passage of time.

Stevenson was chronically ill (suffering from what is now believed to be tuberculosis or sarcoidosis) and wrote much of his work while bedridden or traveling in search of better health. This preface was composed during a period of physical and creative struggle, making its themes of persistence and unfulfilled dreams deeply personal.

Breakdown of the Text ​

1. Nostalgia and Memory: Reintroducing "Prince Otto" ​

"At last, after so many years, I have the pleasure of re-introducing you to ‘Prince Otto,’ whom you will remember a very little fellow, no bigger in fact than a few sheets of memoranda written for me by your kind hand."

  • Context: Stevenson is addressing a friend who was present during the early conception of Prince Otto, when the idea was just a few notes—hardly more than a sketch.
  • Tone: Warm, intimate, almost apologetic—as if he is acknowledging that the book has taken far longer than expected.
  • Literary Device:
    • Personification – "Prince Otto" is described as a "little fellow," giving the abstract idea of a story a human, almost childlike quality.
    • Metaphor – The comparison of the unfinished novel to "a few sheets of memoranda" emphasizes its fragile, incomplete state at the time.

2. The House and Its History: A Symbol of Transience and Endurance ​

"The sight of his name will carry you back to an old wooden house embowered in creepers; a house that was far gone in the respectable stages of antiquity and seemed indissoluble from the green garden in which it stood, and that yet was a sea-traveller in its younger days, and had come round the Horn piecemeal in the belly of a ship, and might have heard the seamen stamping and shouting and the note of the boatswain’s whistle."

  • Context: Stevenson is referring to a specific house—likely the one he lived in while writing early drafts of Prince Otto. The house is described as:
    • Old and rooted ("embowered in creepers," "indissoluble from the green garden") – suggesting stability, memory, and the passage of time.
    • But also mobile and adventurous ("a sea-traveller," "come round the Horn") – implying that even fixed things have histories of movement and change.
  • Themes:
    • Impermanence vs. Permanence – The house is both ancient and traveled, symbolizing how people and places carry their pasts with them.
    • Romanticism of the Past – Stevenson often mythologized his own life, and this description gives the house a legendary quality, as if it were a character in its own right.
  • Literary Devices:
    • Juxtaposition – The contrast between the house’s settled, garden-bound present and its seafaring past creates a sense of layered history.
    • Sensory Imagery – The sounds of "seamen stamping and shouting" and the "boatswain’s whistle" immerse the reader in a vivid, almost cinematic memory.

3. The Scattered Inhabitants: A Portrait of a Lost Community ​

"It will recall to you the nondescript inhabitants now so widely scattered:—the two horses, the dog, and the four cats, some of them still looking in your face as you read these lines;—the poor lady, so unfortunately married to an author;—the China boy, by this time, perhaps, baiting his line by the banks of a river in the Flowery Land;—and in particular the Scot who was then sick apparently unto death, and whom you did so much to cheer and keep in good behaviour."

  • Context: Stevenson lists the people and animals who once lived in the house, now dispersed by time.
    • "The poor lady" – Likely Fanny Stevenson, his wife, who endured the hardships of being married to a sickly, restless writer.
    • "The China boy" – Possibly a servant; "the Flowery Land" is an old poetic name for China, suggesting he has returned home.
    • "The Scot" – Stevenson himself, referring to his near-death illness (he was often bedridden and believed he would die young).
  • Themes:
    • Transience and Loss – The scattering of this makeshift family reflects the inevitability of change.
    • Humility and Gratitude – Stevenson acknowledges his dependence on others, particularly his friend’s emotional support ("you did so much to cheer and keep in good behaviour").
  • Literary Devices:
    • Cataloguing – The listing of inhabitants creates a sense of a lost world, like a ghostly roll call.
    • Irony – The phrase "unfortunately married to an author" is self-deprecating, acknowledging the burdens of his profession on his wife.

4. Unfulfilled Ambitions: The Weight of Expectations ​

"You may remember that he was full of ambitions and designs: so soon as he had his health again completely, you may remember the fortune he was to earn, the journeys he was to go upon, the delights he was to enjoy and confer, and (among other matters) the masterpiece he was to make of ‘Prince Otto’!"

  • Context: Stevenson reflects on his past optimism—his dreams of recovery, wealth, travel, and literary greatness—all of which were delayed or unfulfilled.
  • Themes:
    • The Gap Between Aspiration and Reality – He had grand plans, but illness and circumstance slowed him down.
    • Artistic Struggle – The mention of Prince Otto as a potential "masterpiece" is ironic, as the novel was not one of his most celebrated works.
  • Literary Devices:
    • Anaphora – The repetition of "you may remember" creates a rhythmic, almost incantatory effect, reinforcing the weight of memory.
    • Dramatic Irony – The reader knows that Stevenson did achieve fame (with Treasure Island and Dr. Jekyll and Mr. Hyde), but at this moment, he is uncertain of his legacy.

5. Defiance and Resilience: The Spirit of Braddock ​

"Well, we will not give in that we are finally beaten. We read together in those days the story of Braddock, and how, as he was carried dying from the scene of his defeat, he promised himself to do better another time: a story that will always touch a brave heart, and a dying speech worthy of a more fortunate commander. I try to be of Braddock’s mind. I still mean to get my health again; I still purpose, by hook or crook, this book or the next, to launch a masterpiece; and I still intend—somehow, some time or other—to see your face and to hold your hand."

  • Context:
    • General Edward Braddock was a British commander defeated in the French and Indian War (1755). As he lay dying, he reportedly said he would "do better next time"—a moment of defiant hope in the face of failure.
    • Stevenson identifies with Braddock, framing his own struggles (health, artistic doubts) as a battle not yet lost.
  • Themes:
    • Resilience in Defeat – Despite setbacks, Stevenson refuses to surrender to despair.
    • The Persistence of Hope – His three "I still" statements are affirmations of will:
      1. "I still mean to get my health again" – A defiance of his illness.
      2. "I still purpose... to launch a masterpiece" – A recommitment to his art.
      3. "I still intend... to see your face and to hold your hand" – A promise of reunion, suggesting that human connection is as important as ambition.
  • Literary Devices:
    • Allusion – The reference to Braddock elevates Stevenson’s personal struggle to a mythic, historical level.
    • Repetition – The anaphoric "I still" creates a mantra-like determination.
    • Parallelism – The three declarations mirror each other in structure, reinforcing his unwavering resolve.

Significance of the Passage ​

  1. Autobiographical Insight – This preface is more about Stevenson than about Prince Otto. It reveals his vulnerability, humor, and stubborn optimism in the face of illness and artistic uncertainty.
  2. Metafictional Reflection – By discussing the birth and delays of the novel, Stevenson blurs the line between life and art, making the reader aware of the struggle behind creation.
  3. Universal Themes –
    • The Passage of Time – The scattering of people and places reflects how life moves forward, leaving fragments behind.
    • The Artist’s Burden – The pressure to create a "masterpiece" is both a motivation and a curse.
    • Resilience – The Braddock allusion turns personal failure into a noble, almost heroic struggle.
  4. Style and Tone –
    • Conversational yet Poetic – Stevenson writes as if speaking to a friend, but his prose is rich with imagery and rhythm.
    • Melancholic but Defiant – There is sadness for what was lost, but also a fierce determination to keep going.

Conclusion: Why This Passage Matters ​

This excerpt is not just a preface—it is a manifesto of persistence. Stevenson, aware of his mortality and his unfinished dreams, chooses not to surrender. Instead, he reclaims his ambition through memory, humor, and defiance.

For modern readers, it serves as a reminder of the human behind the art—that even great writers doubt, struggle, and sometimes fail, but keep writing anyway. The passage is both a time capsule (preserving a moment in Stevenson’s life) and a rallying cry (urging himself, and us, to keep going).

In the end, Prince Otto may not have been the masterpiece he hoped for, but this preface itself is a small masterpiece—a lyrical, honest, and deeply moving reflection on life, art, and the refusal to be beaten.