Article #413-1 | Gutenberg Articles

Excerpt

Excerpt from Ballads, by Robert Louis Stevenson

All was done as he said, and the gardens prospered; and now
The fame of their plenty went out, and word of it came to Vaiau.
For the men of Námunu-úra sailed, to the windward far,
Lay in the offing by south where the towns of the Tevas are,
And cast overboard of their plenty; and lo! at the Tevas feet
The surf on all of the beaches tumbled treasures of meat.
In the salt of the sea, a harvest tossed with the refluent foam;
And the children gleaned it in playing, and ate and carried it home;
And the elders stared and debated, and wondered and passed the jest,
But whenever a guest came by eagerly questioned the guest;
And little by little, from one to another, the word went round:
“In all the borders of Paea the victual rots on the ground,
And swine are plenty as rats. And now, when they fare to the sea,
The men of the Námunu-úra glean from under the tree
And load the canoe to the gunwale with all that is toothsome to eat;
And all day long on the sea the jaws are crushing the meat,
The steersman eats at the helm, the rowers munch at the oar,
And at length, when their bellies are full, overboard with the store!”
Now was the word made true, and soon as the bait was bare,
All the pigs of Taiárapu raised their snouts in the air.
Songs were recited, and kinship was counted, and tales were told
How war had severed of late but peace had cemented of old
The clans of the island. “To war,” said they, “now set we an end,
And hie to the Námunu-úra even as a friend to a friend.”

So judged, and a day was named; and soon as the morning broke,
Canoes were thrust in the sea and the houses emptied of folk.
Strong blew the wind of the south, the wind that gathers the clan;
Along all the line of the reef the clamorous surges ran;
And the clouds were piled on the top of the island mountain-high,
A mountain throned on a mountain. The fleet of canoes swept by
In the midst, on the green lagoon, with a crew released from care,
Sailing an even water, breathing a summer air,
Cheered by a cloudless sun; and ever to left and right,
Bursting surge on the reef, drenching storms on the height.
So the folk of Vaiau sailed and were glad all day,
Coasting the palm-tree cape and crossing the populous bay
By all the towns of the Tevas; and still as they bowled along,
Boat would answer to boat with jest and laughter and song,
And the people of all the towns trooped to the sides of the sea
And gazed from under the hand or sprang aloft on the tree,
Hailing and cheering. Time failed them for more to do;
The holiday village careened to the wind, and was gone from view
Swift as a passing bird; and ever as onward it bore,
Like the cry of the passing bird, bequeathed its song to the shore—
Desirable laughter of maids and the cry of delight of the child.
And the gazer, left behind, stared at the wake and smiled.
By all the towns of the Tevas they went, and Pápara last,
The home of the chief, the place of muster in war; and passed
The march of the lands of the clan, to the lands of an alien folk.
And there, from the dusk of the shoreside palms, a column of smoke
Mounted and wavered and died in the gold of the setting sun,
“Paea!” they cried. “It is Paea.” And so was the voyage done.

In the early fall of the night, Hiopa came to the shore,
And beheld and counted the comers, and lo, they were forty score:
The pelting feet of the babes that ran already and played,
The clean-lipped smile of the boy, the slender breasts of the maid,
And mighty limbs of women, stalwart mothers of men.
The sires stood forth unabashed; but a little back from his ken
Clustered the scarcely nubile, the lads and maids, in a ring,
Fain of each other, afraid of themselves, aware of the king
And aping behaviour, but clinging together with hands and eyes,
With looks that were kind like kisses, and laughter tender as sighs.
There, too, the grandsire stood, raising his silver crest,
And the impotent hands of a suckling groped in his barren breast.
The childhood of love, the pair well married, the innocent brood,
The tale of the generations repeated and ever renewed—
Hiopa beheld them together, all the ages of man,
And a moment shook in his purpose.

Explanation

**Detailed Explanation of Robert Louis Stevenson’s Ballads Excerpt**

This passage is from The Feast of Famine, one of the ballads in Robert Louis Stevenson’s Ballads (1890), a collection of narrative poems set in the South Pacific. Stevenson, who spent his later years in Samoa, drew heavily from Polynesian oral traditions, colonial encounters, and the cultural dynamics of island societies. This particular ballad explores themes of abundance and scarcity, communal harmony, deception, and the fragility of peace, all framed within a vivid, almost cinematic depiction of Polynesian life.

The excerpt describes how the people of Vaiau (likely a fictionalized Tahitian or Polynesian community) hear of the extraordinary prosperity of Námunu-úra (another clan or district) and, lured by tales of overflowing food, embark on a voyage to share in the feast—only to be met with an ominous twist. The passage is rich in oral storytelling techniques, sensory imagery, and dramatic irony, building tension toward an unresolved (but foreboding) climax.

Context & Themes

Cultural & Historical Context
- Stevenson’s ballads were influenced by his time in the Pacific, where he observed pre-colonial and colonial Polynesian societies, their oral traditions, and the impact of European contact (e.g., shifting power dynamics, resource exploitation).
- The poem reflects traditional Polynesian values: communal feasting (‘umu or earth oven cookouts), kinship networks, and the ritualized exchange of food as a symbol of alliance or dominance.
- The contrasts between abundance and famine mirror real historical tensions, such as inter-island raids for resources or the disruption of local economies by European trade.
Key Themes
- Deception & False Abundance: The prosperity of Námunu-úra is a trap—later revealed to be a ploy by the chief Hiopa to lure enemies into vulnerability.
- Communal Joy vs. Impending Doom: The voyage is depicted as a festive, almost utopian journey, but the reader senses an undercurrent of danger (e.g., the "dusk of the shoreside palms," the "column of smoke").
- The Cycle of War & Peace: The Tevas debate whether to renew old alliances or remain wary, highlighting how peace is fragile in societies where survival depends on resources.
- Human Vulnerability Across Generations: Hiopa’s observation of the arriving crowd—from infants to elders—underscores the universal human condition and the ethical weight of his impending decision (likely betrayal).

Literary Devices & Stylistic Analysis

Stevenson employs a ballad form—a narrative poem with rhythm, repetition, and oral cadence—to mimic Polynesian storytelling. Key devices include:

Vivid Imagery & Sensory Language
- Tactile & Gustatory: "The surf on all of the beaches tumbled treasures of meat... The children gleaned it in playing, and ate and carried it home." → The abundance is almost surreal, emphasizing the temptation that lures the Tevas.
- Auditory: "Boat would answer to boat with jest and laughter and song... the cry of delight of the child." → The sound of joy contrasts with the silent menace of Hiopa’s later observation.
- Visual: "The clouds were piled on the top of the island mountain-high, / A mountain throned on a mountain." → The towering, unstable landscape foreshadows the instability of the situation.
Dramatic Irony & Foreshadowing
- The reader senses that the feast is too good to be true. Phrases like "overboard with the store!" and "the bait was bare" hint at a trap.
- The shift in tone from celebratory to ominous:
  - "Swift as a passing bird; and ever as onward it bore, / Like the cry of the passing bird, bequeathed its song to the shore." → The transience of joy is emphasized; the song is left behind like an echo.
  - "The dusk of the shoreside palms, a column of smoke / Mounted and wavered and died in the gold of the setting sun." → Smoke often symbolizes destruction (e.g., cooking fires for a feast—or a massacre).
Repetition & Oral Rhythm
- "And the men of Námunu-úra sailed... And the men of Námunu-úra gleaned..." → Mimics Polynesian chant, reinforcing the legendary quality of the tale.
- "The steersman eats at the helm, the rowers munch at the oar..." → Parallel structure builds a sense of excessive, almost grotesque plenty.
Symbolism
- The Canoe Fleet: Represents unity and collective movement, but also vulnerability (they are exposed on the water).
- The Setting Sun: Traditionally a symbol of ending or death, here marking the transition from hope to uncertainty.
- Hiopa’s Gaze: His cataloging of the crowd (from infants to elders) makes the coming betrayal more tragic—he sees their humanity before acting.
Characterization Through Action
- The Tevas are naïve but joyful, their excitement making their fate more poignant.
- Hiopa is a Machiavelian figure—his momentary hesitation ("a moment shook in his purpose") suggests internal conflict, but the context implies he will proceed with deception or violence.

Significance of the Passage

Colonial & Postcolonial Readings
- The ballad can be read as a metaphor for colonial exploitation: the lure of false prosperity (like European trade goods) leading to subjugation.
- The betrayal of trust mirrors broken treaties between indigenous peoples and colonizers.
Moral Ambiguity
- Stevenson does not condemn or justify Hiopa—instead, he presents human nature as complex, where survival sometimes demands cruelty.
- The beauty of the voyage contrasts with the darkness of the outcome, forcing the reader to reckon with the cost of peace or war.
Universal Themes
- The tension between abundance and scarcity is timeless, resonating with economic disparities, migration, and conflict over resources.
- The generational spectrum (from suckling babes to grandsires) reminds us that war and deception affect entire communities, not just warriors.

Line-by-Line Breakdown of Key Moments

"The fame of their plenty went out..."
- Rumor as a catalyst—the Tevas are drawn by hearsay, not direct experience, making them easy to manipulate.
"The men of Námunu-úra glean from under the tree / And load the canoe to the gunwale..."
- Exaggerated abundance—the imagery is almost comic, which makes the later betrayal more jarring.
"Songs were recited, and kinship was counted..."
- Ritualized diplomacy—the Tevas rationalize trust through shared ancestry, but war has already fractured these bonds.
"The clouds were piled on the top of the island mountain-high, / A mountain throned on a mountain."
- Nature as ominous—the unstable, towering landscape mirrors the precarious peace.
"Hiopa beheld them together, all the ages of man..."
- Pathos—Hiopa sees the full spectrum of humanity, making his likely betrayal more tragic.
"And a moment shook in his purpose."
- Moral hesitation—this brief doubt humanizes him, suggesting that evil is not absolute but a choice in desperate circumstances.

Conclusion: Why This Passage Matters

Stevenson’s excerpt is a masterclass in tension-building, using lush imagery and rhythmic storytelling to draw the reader into a seemingly joyous voyage while planting seeds of dread. The passage explores:

The allure of abundance and the danger of trust.
The fragility of peace in societies where survival is precarious.
The ethical dilemmas of leadership (Hiopa’s choice between mercy and ruthlessness).

Ultimately, the ballad serves as a cautionary tale—one that resonates with historical betrayals, colonial encounters, and the timeless struggle between cooperation and conflict. The unresolved ending (Hiopa’s shaken purpose) leaves the reader anticipating disaster, a testament to Stevenson’s skill in blending beauty with foreboding.

Would you like a deeper dive into any specific aspect, such as the historical inspirations or the ballad’s structure?

Questions

Question 1

The passage’s depiction of the Tevas’ voyage to Námunu-úra most closely aligns with which of the following interpretations of communal movement?

A. A ritualistic pilgrimage where the act of travel itself purifies the participants of past conflicts.
B. A naive surrender to the allure of material abundance, blind to the historical cycles of violence.
C. An assertion of cultural dominance through the performative display of unity and festive energy.
D. A spontaneous exodus driven by collective desperation rather than premeditated diplomatic strategy.
E. A tragic irony in which the very traits that define human connection—trust, joy, kinship—become vectors of vulnerability.

Question 2

Hiopa’s reaction upon seeing the arriving Tevas ("a moment shook in his purpose") is most effectively read as:

A. A fleeting recognition of shared humanity that will ultimately dissolve into pragmatic ruthlessness.
B. An internal debate between his role as a protector of his people and his personal revulsion at violence.
C. A performative hesitation designed to manipulate the Tevas into lowering their guard further.
D. The first sign of a moral awakening that will lead him to abandon his original plan.
E. A collision between the abstract logic of power and the visceral reality of its human cost.

Question 3

The imagery of the canoe fleet—"Sailing an even water, breathing a summer air, / Cheered by a cloudless sun"—serves primarily to:

A. Establish the Tevas’ voyage as a mythic, almost divine journey blessed by natural harmony.
B. Highlight the stark contrast between the fleet’s serenity and the turbulent reefs, symbolizing hidden dangers.
C. Underscore the naivety of the Tevas, who interpret favorable conditions as a sign of inevitable success.
D. Create a false sense of security that the reader, unlike the characters, recognizes as ominous.
E. Frame the voyage as a fleeting, illusory utopia whose beauty is inseparable from its impending destruction.

Question 4

Which of the following best describes the function of the phrase "the bait was bare" in the passage?

A. It signals the Tevas’ realization that the stories of abundance were exaggerated, prompting their decision to leave.
B. It marks the transition from rumor to action, where the absence of food sparks the Tevas’ collective movement.
C. It operates as a metaphor for the exhaustion of trust, where the initial lure has served its purpose in drawing the Tevas in.
D. It reflects the Námunu-úra’s strategic withdrawal of resources to test the Tevas’ sincerity before welcoming them.
E. It foreshadows the Tevas’ eventual starvation, as the "bait" symbolizes the last remnants of a doomed prosperity.

Question 5

The passage’s closing lines—"Hiopa beheld them together, all the ages of man, / And a moment shook in his purpose"—are most powerfully interpreted as:

A. A critique of cyclical violence, where each generation repeats the mistakes of the last.
B. An indictment of Hiopa’s cowardice, as his hesitation reveals his unfitness for leadership.
C. A moment of tragic clarity in which Hiopa recognizes the futility of his plan but lacks the will to stop it.
D. The culmination of the passage’s tension between abstraction (power, strategy) and concrete humanity (flesh, kinship, mortality).
E. A plea for mercy, directed at the reader, to intervene in the inevitable outcome of the narrative.

Solutions and Explanations

1) Correct answer: E

Why E is most correct: The passage constructs a tragic irony where the Tevas’ most humanizing qualities—their trust in kinship, their joy in collective movement, their vulnerability as a multigenerational community—are the very traits that render them susceptible to Hiopa’s trap. The voyage is not merely naive (B) or ritualistic (A); it is a poignant inversion where what should unite them (shared humanity) becomes the mechanism of their undoing. Stevenson’s ballad form, with its oral, communal rhythm, amplifies this irony by making the reader complicit in the foreknowledge of betrayal.