Article #413-2 | Gutenberg Articles

Excerpt

Excerpt from Ballads, by Robert Louis Stevenson

IT fell in the days of old, as the men of Taiárapu tell,
A youth went forth to the fishing, and fortune favoured him well.
Támatéa his name: gullible, simple, and kind,
Comely of countenance, nimble of body, empty of mind,
His mother ruled him and loved him beyond the wont of a wife,
Serving the lad for eyes and living herself in his life.
Alone from the sea and the fishing came Támatéa the fair,
Urging his boat to the beach, and the mother awaited him there,
—“Long may you live!” said she. “Your fishing has sped to a wish.
And now let us choose for the king the fairest of all your fish.
For fear inhabits the palace and grudging grows in the land,
Marked is the sluggardly foot and marked the niggardly hand,
The hours and the miles are counted, the tributes numbered and
weighed,
And woe to him that comes short, and woe to him that delayed!”

So spoke on the beach the mother, and counselled the wiser thing.
For Rahéro stirred in the country and secretly mined the king.
Nor were the signals wanting of how the leaven wrought,
In the cords of obedience loosed and the tributes grudgingly brought.
And when last to the temple of Oro the boat with the victim sped,
And the priest uncovered the basket and looked on the face of the
dead,
Trembling fell upon all at sight of an ominous thing,
For there was the aito {5} dead, and he of the house of the king.

So spake on the beach the mother, matter worthy of note,
And wattled a basket well, and chose a fish from the boat;
And Támatéa the pliable shouldered the basket and went,
And travelled, and sang as he travelled, a lad that was well content.
Still the way of his going was round by the roaring coast,
Where the ring of the reef is broke and the trades run riot the most.
On his left, with smoke as of battle, the billows battered the land;
Unscalable, turreted mountains rose on the inner hand.
And cape, and village, and river, and vale, and mountain above,
Each had a name in the land for men to remember and love;
And never the name of a place, but lo! a song in its praise:
Ancient and unforgotten, songs of the earlier days,
That the elders taught to the young, and at night, in the full of the
moon,
Garlanded boys and maidens sang together in tune.
Támatéa the placable went with a lingering foot;
He sang as loud as a bird, he whistled hoarse as a flute;
He broiled in the sun, he breathed in the grateful shadow of trees,
In the icy stream of the rivers he waded over the knees;
And still in his empty mind crowded, a thousand-fold,
The deeds of the strong and the songs of the cunning heroes of old.

Explanation

Detailed Explanation of Robert Louis Stevenson’s Ballads Excerpt: "It fell in the days of old, as the men of Taiárapu tell..."

This excerpt is from Ballads (1890), a collection of narrative poems by Robert Louis Stevenson, best known for Treasure Island and Strange Case of Dr. Jekyll and Mr. Hyde. Stevenson spent his later years in the South Pacific, and this poem reflects his deep engagement with Polynesian culture, mythology, and oral storytelling traditions. The ballad is set in Tahiti (specifically Taiárapu, a district in the southeast) and blends historical tension, folklore, and psychological depth.

The poem tells the story of Támatéa, a simple, kind-hearted young fisherman, and his mother, who sends him on a perilous errand to deliver a fish to the king—a task fraught with political danger. The excerpt establishes themes of innocence, political unrest, maternal control, and the weight of tradition, all while immersing the reader in a richly evoked Polynesian landscape.

1. Context & Setting

Historical & Cultural Background: The poem is set in pre-colonial Tahiti, where chiefs (ari’i) ruled through a mix of divine authority and fear. The reference to Oro, the Tahitian god of war, and the aito (a warrior or nobleman) suggests a society where sacrifice, tribute, and rebellion were constant realities. The tensions between the king and Rahéro (likely a rebel leader) mirror real historical conflicts in 18th- and 19th-century Tahiti, such as the wars between King Pōmare and rival factions.
Oral Tradition & Ballad Form: Stevenson mimics the oral storytelling style of Polynesian legends, using repetition, rhythmic cadence, and vivid imagery to create an epic yet intimate tone. The opening line—"It fell in the days of old, as the men of Taiárapu tell"—positions the poem as a communal memory, passed down through generations.

2. Themes

A. Innocence vs. Political Danger

Támatéa is described as:
"gullible, simple, and kind, / Comely of countenance, nimble of body, empty of mind" His naivety contrasts sharply with the political intrigue surrounding him. While he sings and enjoys nature, his mother warns of fear in the palace, grudging tributes, and the danger of delay—hints of a crumbling regime.
The ominous sign of the dead aito (warrior) in the temple of Oro foreshadows violence and rebellion. The fact that the victim is "of the house of the king" suggests internal betrayal or divine displeasure, a bad omen for the monarchy.

B. Maternal Control & Sacrifice

Támatéa’s mother dominates his life, acting as his "eyes" and living "herself in his life." Her love is possessive and protective, yet she sends him into danger, showing how familial duty intersects with political survival.
The fish tribute is not just a gift but a test of loyalty—failure could mean punishment. The mother’s urgency ("woe to him that comes short") reflects the brutal efficiency of the king’s rule.

C. Nature, Myth, and Memory

Stevenson romanticizes the Tahitian landscape, filling it with mythic grandeur:
"On his left, with smoke as of battle, the billows battered the land; / Unscalable, turreted mountains rose on the inner hand." The personification of nature (waves like battle smoke, mountains like fortresses) reinforces the epic scale of the journey.
Támatéa’s mind is empty yet full of legends:
"In his empty mind crowded, a thousand-fold, / The deeds of the strong and the songs of the cunning heroes of old." This paradox suggests that while he lacks personal cunning, he is steeped in cultural memory, singing the old songs as he walks. The contradiction between his simplicity and the weight of tradition is central to the poem.

D. Fate & Foreshadowing

The basket of fish becomes a symbol of doom. The mother’s careful selection ("wattled a basket well") contrasts with Támatéa’s carefree demeanor, creating dramatic irony—the reader senses danger, but he does not.
The dead aito in the temple is a supernatural warning, suggesting that the gods (or fate) have already turned against the king. Támatéa, oblivious, walks into this political and spiritual storm.

3. Literary Devices & Style

A. Ballad Structure & Rhythm

Stevenson uses quatrains (four-line stanzas) with a steady, musical rhythm, mimicking oral storytelling. The repetition of sounds (e.g., "battered the land," "turreted mountains") creates a hypnotic, incantatory effect.
Alliteration enhances the musicality:
"fear inhabits the palace and grudging grows in the land""the ring of the reef is broke"

B. Imagery & Sensory Language

Visual Imagery:
- The violent sea ("smoke as of battle," "billows battered the land") mirrors the political turmoil.
- The mountains are "unscalable, turreted"—like a fortress, symbolizing the impenetrable power of tradition.
Auditory Imagery:
- Támatéa’s singing and whistling contrast with the silent dread of the political plot.
- The "roaring coast" and "trades run riot" evoke the uncontrollable forces at play.

C. Irony & Foreshadowing

Dramatic Irony: The reader knows the danger (rebellion, the dead aito), but Támatéa does not.
Situational Irony: A simple fisherman becomes entangled in high-stakes politics without realizing it.
Foreshadowing:
- The dead nobleman in the temple hints at impending violence.
- The mother’s urgency suggests that time is running out for the king.

D. Symbolism

The Fish: Represents tribute, loyalty, and sacrifice. Choosing the "fairest" fish is not just about quality but political survival.
The Basket: A container of fate—what seems like a simple errand may hold life-or-death consequences.
The Sea & Mountains: Symbolize both beauty and danger, reflecting the duality of Tahitian life—serene on the surface, but fraught with unseen perils.

4. Significance & Interpretation

A. Colonial & Postcolonial Readings

Stevenson, a Scottish writer in the Pacific, walks a fine line between romanticizing and critiquing colonial narratives. While he celebrates Polynesian culture, the poem also hints at its fragility under political strife.
The king’s oppressive rule and Rahéro’s rebellion could be read as a metaphor for colonial resistance, though Stevenson avoids outright moral judgment.

B. Psychological Depth: The "Empty Mind"

Támatéa’s "empty mind" is not just simplicity—it’s a vessel for collective memory. His lack of personal ambition makes him a pure conduit for tradition, unlike the scheming rebels and fearful nobles.
His contentment ("a lad that was well content") contrasts with the anxiety of power, suggesting that innocence is both a strength and a vulnerability.

C. The Role of Fate & Myth

The poem blends history and myth, suggesting that individual lives are shaped by larger forces (gods, kings, rebels).
The dead aito is a supernatural omen, implying that fate is already sealed—Támatéa’s journey is not just a delivery but a step into a preordained tragedy.

5. Conclusion: Why This Excerpt Matters

This passage is a masterclass in narrative tension, blending:

Lyrical beauty (the singing, the landscape)
Political intrigue (the rebellion, the king’s fear)
Mythic weight (the dead warrior, the gods’ displeasure)
Psychological depth (the mother’s control, Támatéa’s innocence)

Stevenson immerses the reader in a world where every action—even carrying a fish—is charged with meaning. The excerpt sets up a tragic arc: Támatéa, the guileless hero, is unaware that he is walking into a storm of violence and betrayal. His song-filled journey becomes a poignant contrast to the dark forces closing in around him.

In the broader context of Ballads, this poem reflects Stevenson’s fascination with the Pacific—not as a paradise, but as a place of complex histories, where beauty and brutality coexist. The oral tradition of Tahiti finds new life in his literary craft, making this both a homage to Polynesian storytelling and a universal tale of innocence facing corruption.

Final Thought:

Támatéa’s story is a microcosm of human experience—we often walk blindly into fate, singing as we go, while greater powers plot our doom. Stevenson’s genius lies in making this both deeply specific to Tahiti and timelessly human.

Questions

Question 1

The passage’s depiction of Támatéa’s "empty mind" serves primarily to:

A. underscore the cultural vacuity of pre-colonial Tahitian society, where oral traditions failed to cultivate critical thought.
B. establish his role as a passive vessel for the poem’s moral lesson about the dangers of political naivety.
C. contrast his intellectual limitations with the strategic cunning of Rahéro’s rebellion.
D. highlight the paradox of a mind simultaneously devoid of personal agency yet overflowing with communal memory.
E. foreshadow his inevitable failure to complete the errand, as his simplicity renders him unfit for the task.

Question 2

The mother’s insistence on selecting "the fairest of all your fish" is most effectively interpreted as:

A. a superstitious attempt to appease the god Oro through aesthetic perfection.
B. a subtle critique of the king’s vanity, implying that his rule is sustained by hollow symbolism.
C. an economic calculation to maximize the family’s standing by offering the most valuable tribute.
D. a maternal instinct to shield Támatéa by ensuring his gift cannot be faulted by the king’s inspectors.
E. a performative act of loyalty that masks her awareness of the kingdom’s impending collapse.

Question 3

The dead aito in the temple of Oro functions structurally as:

A. a deus ex machina that abruptly introduces supernatural intervention into the political narrative.
B. a red herring, distracting from the more immediate threat posed by Rahéro’s rebellion.
C. an allegorical representation of the king’s moral decay, embodied in the sacrifice of his own kin.
D. a historical footnote, grounding the poem in specific Tahitian rituals without deeper symbolic weight.
E. a fulcrum of dramatic irony, where the omen’s significance is lost on Támatéa but not the reader.

Question 4

The passage’s description of the landscape—"smoke as of battle," "turreted mountains," "roaring coast"—primarily serves to:

A. romanticize Tahiti as an untamed paradise, contrasting with the corruption of its political elite.
B. externalize the psychological tension between individual freedom and societal constraint.
C. provide a realistic backdrop for the poem’s historical setting, prioritizing geographical accuracy.
D. critique colonial narratives by emphasizing the island’s resistance to foreign domination.
E. foreshadow Támatéa’s physical peril, as the terrain mirrors the dangers of his mission.

Question 5

The poem’s use of ballad form and oral storytelling conventions is most effectively analyzed as:

A. a nostalgic homage to a dying tradition, lamenting the erosion of Polynesian culture under colonialism.
B. a stylistic affectation that undermines the poem’s gravitas by prioritizing rhythm over thematic depth.
C. a didactic tool to simplify complex political dynamics for an uneducated audience.
D. a mechanism to imbue Támatéa’s journey with mythic resonance, elevating his personal errand to a communal archetype.
E. an ironic juxtaposition, where the musicality of the form clashes with the brutality of the content.

Solutions and Explanations

1) Correct answer: D

Why D is most correct: The passage explicitly describes Támatéa’s mind as "empty" yet immediately notes that it is "crowded, a thousand-fold, / The deeds of the strong and the songs of the cunning heroes of old." This paradox is central to his characterization: he lacks individual agency or critical thought ("empty of mind"), but he is a living repository of cultural memory. The correct answer captures this tension between personal vacuity and communal saturation, aligning with Stevenson’s broader theme of tradition persisting through seemingly passive vessels.