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Excerpt

Excerpt from Vailima Letters, by Robert Louis Stevenson

Portrait of R. L. Stevenson; etched by W. Strang Frontispiece
after a photograph by Falk of Sydney
Portrait of R. L. Stevenson on his Horse ‘Jack’ 119
Portrait of R. L. Stevenson with the Native Chief 320
Tui Malealiifano

EDITORIAL NOTE.

SO much of preface seems necessary to this volume as may justify its
publication and explain its origin. The writer was for many years my
closest friend. It was in the summer of 1873 that a lady, whose gracious
influence has helped to shape and encourage more than one distinguished
career, first awakened my interest in him and drew us together. He was
at that time a lad of twenty-two, with his powers not yet set nor his way
of life determined. But to know him was to recognise at once that here
was a young genius of whom great things might be expected. A slender,
boyish presence, with a graceful, somewhat fantastic bearing, and a
singular power and attraction in the eyes and smile, were the signs that
first impressed you; and the impression was quickly confirmed and
deepened by the charm of his talk, which was irresistibly sympathetic and
inspiring, and not less full of matter than of mirth. I have known no
man in whom the poet’s heart and imagination were combined with such a
brilliant strain of humour and such an unsleeping alertness and
adroitness of the critical intelligence. But it was only in conversation
that he could as yet do himself justice. His earliest efforts in
literature were of a very uneven and tentative quality. The reason
partly was that in mode of expression and choice of language, no less
than in the formation of opinion and the conduct of life, he was
impatient, even to excess, of the conventional, the accepted, and the
trite. His perceptions and emotions were acute and vivid in the extreme;
his judgments, whether founded on experience, reading, discussion, or
caprice (and a surprising amount of all these things had been crowded
into his youthful existence) were not less fresh and personal; while to
his ardent fancy the world was a theatre glowing with the lights and
bustling with the incidents of romance. To find for all he had to say
words of vital aptness and animation—to communicate as much as possible
of what he has somewhere called ‘the incommunicable thrill of things’—was
from the first his endeavour in literature, nay more, it was the main
passion of his life. The instrument that should serve his purpose could
not be forged in haste, still less could it be adopted at second hand or
ready-made; and he has himself narrated how long and toilsome was the
apprenticeship he served.

Explanation

**Detailed Explanation of the Excerpt from Vailima Letters by Robert Louis Stevenson**

This passage is the Editorial Note prefacing Vailima Letters, a collection of Robert Louis Stevenson’s correspondence from his later years in Samoa (where he lived from 1890 until his death in 1894). The note is written by Sidney Colvin, Stevenson’s close friend, literary executor, and biographer. While the Vailima Letters themselves consist of Stevenson’s personal letters, this preface serves as an introduction to the man behind the words, offering insights into his personality, literary struggles, and artistic philosophy.

This excerpt is not part of Stevenson’s own writing but rather Colvin’s critical and biographical reflection on Stevenson’s early life, character, and literary development. Below is a breakdown of its key elements:

1. Context of the Source

The Vailima Letters (published posthumously in 1895) are a collection of Stevenson’s letters written from his estate in Samoa, where he spent his final years. They reveal his thoughts on writing, politics, health, and life in the South Pacific.
Sidney Colvin (1845–1927) was a British art critic, museum curator, and Stevenson’s lifelong friend. He played a crucial role in shaping Stevenson’s literary reputation after his death.
The Editorial Note functions as a preface, justifying the publication of private letters and framing Stevenson’s genius for readers.

2. Themes in the Excerpt

A. The Young Genius: Stevenson’s Early Promise

Colvin portrays Stevenson at age 22 (1873), before he became famous, as a figure of unfulfilled but undeniable potential:

"A young genius of whom great things might be expected" – Colvin emphasizes Stevenson’s charisma, intelligence, and creativity, suggesting that his brilliance was evident even before his literary success.
"A slender, boyish presence… with a singular power and attraction in the eyes and smile" – This physical description reinforces the idea of Stevenson as a romantic, almost elfin figure, which aligns with later portrayals of him (e.g., in Treasure Island’s Long John Silver or The Master of Ballantrae’s darkly charming protagonists).

B. The Struggle for Originality

Colvin highlights Stevenson’s rejection of convention in both life and art:

"Impatient, even to excess, of the conventional, the accepted, and the trite" – Stevenson despised clichés in language, thought, and behavior, which explains his experimental style (e.g., Dr. Jekyll and Mr. Hyde’s psychological depth, Kidnapped’s dialect-driven realism).
"His earliest efforts in literature were of a very uneven and tentative quality" – Colvin acknowledges that Stevenson’s early works (e.g., An Inland Voyage, 1878) were not yet masterful, but this was because he was forging his own voice rather than imitating others.

C. The World as Romance

Stevenson’s perception of reality is framed as deeply imaginative:

"To his ardent fancy, the world was a theatre glowing with the lights and bustling with the incidents of romance" – This reflects Stevenson’s adventure-driven storytelling (e.g., Treasure Island, The Black Arrow) and his belief that life itself was a grand narrative.
"The incommunicable thrill of things" – A key phrase that captures Stevenson’s literary mission: to convey the ineffable—the emotions, atmospheres, and sensations that resist easy description. This aligns with his sensory, immersive prose (e.g., the foggy streets of Jekyll and Hyde, the tropical vividness of The Beach of Falesá).

D. The Painstaking Craft of Writing

Colvin emphasizes that Stevenson’s genius was not effortless but the result of hard labor:

"The instrument that should serve his purpose could not be forged in haste" – Stevenson revised obsessively, seeking precision in language (e.g., his famous rewrite of Dr. Jekyll and Mr. Hyde after his wife criticized the first draft).
"He has himself narrated how long and toilsome was the apprenticeship he served" – This refers to Stevenson’s essays like "A Gossip on Romance" (1882), where he discusses the discipline of writing and the need to master form before breaking it.

3. Literary Devices & Stylistic Features

Colvin’s prose is elegant, persuasive, and slightly reverential, using several devices to elevate Stevenson’s image:

A. Imagery & Physical Description

"A slender, boyish presence… a graceful, somewhat fantastic bearing" – The visual portrayal of Stevenson as ethereal and charming reinforces the idea of him as a romantic artist.
"The world was a theatre glowing with the lights" – Metaphor of life as a dramatic stage, aligning with Stevenson’s love of adventure and performance (both in his fiction and his own life, e.g., his travels, his public persona).

B. Contrast & Juxtaposition

"The poet’s heart and imagination" vs. "a brilliant strain of humour and… critical intelligence" – Stevenson is presented as a balance of emotion and intellect, avoiding the stereotype of the melancholic Romantic or the cold rationalist.
"Uneven and tentative quality" vs. "fresh and personal" – His early flaws are not failures but steps toward originality.

C. Allusion & Intertextuality

"The incommunicable thrill of things" – This phrase echoes Stevenson’s own literary theory (e.g., in "A Gossip on Romance"), where he argues that great art must evoke, not just describe.
The mention of "theatre" recalls Stevenson’s love of drama (he wrote plays, and his novels are highly theatrical—e.g., Jekyll and Hyde’s dramatic revelations).

D. Tone & Persuasion

Reverential yet personal – Colvin writes as both a critic and a friend, blending analysis with affection.
Defensive of Stevenson’s early work – He justifies the unevenness by framing it as necessary experimentation, not weakness.

4. Significance of the Passage

A. Shaping Stevenson’s Legacy

Colvin’s preface sets the tone for how readers should approach Stevenson’s letters—not as casual correspondence, but as the words of a literary giant.
It mythologizes Stevenson as a tortured but brilliant artist, which influenced later biographies (e.g., Frank McLynn’s Robert Louis Stevenson: A Biography).

B. Insight into Stevenson’s Creative Process

The passage demystifies genius by showing that Stevenson’s mastery was earned, not innate. This aligns with modern views of writing as craft (e.g., Stephen King’s On Writing).
The idea of "the incommunicable thrill" becomes a key to understanding Stevenson’s style—his atmospheric, sensory prose (e.g., the eerie London of Jekyll and Hyde, the tropical heat of The Ebb-Tide).

C. The Romantic vs. the Modern Writer

Colvin presents Stevenson as a bridge between Romanticism and Modernism:
- Romantic in his love of adventure, emotion, and the exotic.
- Modern in his self-awareness, technical precision, and psychological depth.
This duality explains why Stevenson remains widely read—he appeals to both escapists and serious literary critics.

D. The Role of Friendship in Literature

Colvin’s personal connection to Stevenson adds intimacy to the preface, making it more than just criticism—it’s a tribute.
This reflects a broader 19th-century tradition of literary friendships (e.g., Wordsworth & Coleridge, Henry James & Edith Wharton).

5. Key Takeaways from the Text Itself

Stevenson was a magnetic personality—his charm, wit, and intensity were evident even before his fame.
His writing was a struggle against cliché—he rejected easy formulas in favor of original, vivid expression.
He saw the world as a grand adventure—this romantic vision shaped his fiction.
His genius was not effortless—he worked tirelessly to perfect his craft.
His ultimate goal was to capture "the incommunicable thrill"—to make readers feel what words alone could not fully describe.

Conclusion: Why This Matters

This Editorial Note is more than just an introduction—it’s a manifestation of Stevenson’s literary philosophy as seen through the eyes of his closest friend. It explains why his writing feels so alive: because he sought to transmit not just stories, but the very essence of experience.

For modern readers, this passage serves as a reminder that great art requires both inspiration and perspiration—Stevenson’s relentless revision, his rejection of the ordinary, and his romantic view of life are what make his works enduring.

Would you like a deeper dive into any specific aspect, such as Stevenson’s later letters in Vailima or comparisons to his fiction?

Questions

Question 1

The editorial note’s portrayal of Stevenson’s early literary efforts as "uneven and tentative" primarily serves to:

A. undermine the legitimacy of his later acclaim by highlighting his initial inadequacies.
B. frame his developmental struggles as an inevitable consequence of his refusal to conform to established literary conventions.
C. suggest that his genius was fundamentally performative, relying more on charisma than on substantive craft.
D. imply that his later success was largely attributable to the guidance of mentors like the unnamed "lady" mentioned.
E. contrast his youthful ineptitude with the polished sophistication of his contemporaries, thereby elevating their status.

Question 2

The phrase "the incommunicable thrill of things" is best understood as encapsulating Stevenson’s:

A. belief that literature’s highest purpose is to evoke sensations and emotions that resist full articulation through language alone.
B. frustration with the limitations of written expression, leading him to abandon prose in favor of more immediate artistic forms.
C. conviction that the most profound experiences are inherently private and thus unsuitable for public consumption.
D. preference for allegory and symbolism over direct description, as these better approximate the ineffable.
E. argument that the role of the artist is to document, rather than interpret, the raw data of human perception.

Question 3

The passage’s description of Stevenson’s "ardent fancy" and the world as "a theatre glowing with the lights and bustling with the incidents of romance" primarily functions to:

A. critique his tendency to prioritize escapism over the grim realities of Victorian society.
B. align his artistic sensibilities with the melodramatic conventions of 19th-century popular fiction.
C. suggest that his perception of reality was fundamentally delusional, bordering on the pathological.
D. emphasize his affinity for the dramatic arts, particularly his underappreciated work as a playwright.
E. illustrate how his romanticized worldview shaped both his personal identity and his literary ambitions.

Question 4

The editorial note’s tone can best be described as:

A. detached and clinical, focusing solely on Stevenson’s technical development as a writer.
B. skeptical and revisionist, subtly challenging the myth of Stevenson’s genius.
C. sentimental and hagiographic, portraying him as a flawless, almost saintly figure.
D. ironic and subversive, using praise to mask deeper criticisms of his character.
E. reverential yet nuanced, balancing admiration for his talents with acknowledgment of his struggles.

Question 5

Which of the following inferences about Stevenson’s relationship with language is most strongly supported by the passage?

A. He treated words as malleable tools to be reshaped in service of evoking vivid, immediate experiences.
B. He believed that the primary function of literature was to codify and preserve cultural traditions.
C. His linguistic innovations were largely unintentional, arising from his impatience with revision.
D. He saw language as a restrictive medium, ultimately incapable of conveying true emotional depth.
E. His use of dialect and colloquialism was a calculated attempt to appeal to a broader, less educated audience.

Solutions and Explanations

1) Correct answer: B

Why B is most correct: The passage explicitly states that Stevenson’s impatience with "the conventional, the accepted, and the trite" led to his early works being "uneven and tentative." This framing positions his struggles as a direct result of his rejection of ready-made literary forms, aligning with B’s claim that his developmental challenges were an "inevitable consequence" of his nonconformity. The text emphasizes his deliberate, if difficult, quest for originality ("the instrument... could not be adopted at second hand"), which B captures precisely.