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Excerpt ​

Excerpt from Kidnapped, by Robert Louis Stevenson

 THE<br />
 TRIAL<br />
 OF<br />
 JAMES STEWART<br />
 in Aucharn in Duror of Appin<br />
 FOR THE<br />
 Murder of COLIN CAMPBELL of Glenure, Efq;<br />
 Factor for His Majefty on the forfeited<br />
 Estate of Ardfhiel.

My husband was always interested in this period of his country’s
history, and had already the intention of writing a story that should
turn on the Appin murder. The tale was to be of a boy, David Balfour,
supposed to belong to my husband’s own family, who should travel in
Scotland as though it were a foreign country, meeting with various
adventures and misadventures by the way. From the trial of James Stewart
my husband gleaned much valuable material for his novel, the most
important being the character of Alan Breck. Aside from having described
him as “smallish in stature,” my husband seems to have taken Alan
Breck’s personal appearance, even to his clothing, from the book.

A letter from James Stewart to Mr. John Macfarlane, introduced as
evidence in the trial, says: “There is one Alan Stewart, a distant
friend of the late Ardshiel’s, who is in the French service, and came
over in March last, as he said to some, in order to settle at home; to
others, that he was to go soon back; and was, as I hear, the day that
the murder was committed, seen not far from the place where it happened,
and is not now to be seen; by which it is believed he was the actor. He
is a desperate foolish fellow; and if he is guilty, came to the country
for that very purpose. He is a tall, pock-pitted lad, very black hair,
and wore a blue coat and metal buttons, an old red vest, and breeches of
the same colour.” A second witness testified to having seen him wearing
“a blue coat with silver buttons, a red waistcoat, black shag breeches,
tartan hose, and a feathered hat, with a big coat, dun coloured,” a
costume referred to by one of the counsel as “French cloathes which were
remarkable.”

Explanation ​

Detailed Explanation of the Excerpt from Kidnapped by Robert Louis Stevenson ​

This excerpt is from the preface to Kidnapped (1886), a historical adventure novel by Robert Louis Stevenson. The passage discusses the real-life Appin Murder (1752), a politically charged killing that inspired key elements of the novel, particularly the character Alan Breck Stewart. Below is a breakdown of the text, its context, themes, literary devices, and significance—with a focus on the excerpt itself.

1. Context of the Excerpt ​

Historical Background: The Appin Murder (1752) ​

  • The excerpt refers to the trial of James Stewart (a relative of Alan Breck) for the murder of Colin Campbell of Glenure, a government-appointed factor (land agent) managing the forfeited estate of Ardshiel (a Jacobite clan chief whose lands were seized after the 1745 uprising).
  • The murder was politically motivated: Campbell was resented by the Stewart clan (Jacobite sympathizers) for enforcing evictions and rent increases on former Jacobite lands.
  • Alan Breck Stewart, a real Jacobite soldier in French service, was the prime suspect but fled, leaving his half-brother James to be executed (likely wrongfully).

Literary Context: Stevenson’s Kidnapped ​

  • Stevenson’s novel follows David Balfour, a young Lowlander who, after being kidnapped, teams up with Alan Breck, a charismatic but morally ambiguous Highlander.
  • The novel blends historical fact with fiction, using the Appin Murder as a backdrop for its adventure plot.
  • The excerpt is from Fanny Stevenson’s preface (Robert’s wife), explaining how her husband used trial records to shape Alan Breck’s character.

2. Analysis of the Excerpt ​

A. The Trial as a Source of Inspiration ​

  • The passage begins with a legal-style heading (reminiscent of 18th-century court documents), immediately grounding the story in historical reality:

    "THE TRIAL OF JAMES STEWART in Aucharn in Duror of Appin FOR THE Murder of COLIN CAMPBELL of Glenure..."

    • This formal, almost cold presentation contrasts with the dramatic, personal nature of the crime, setting up the tension between law and justice (a key theme in Kidnapped).

  • Fanny Stevenson explains that her husband mined the trial for details, particularly for Alan Breck’s character:

    "From the trial of James Stewart my husband gleaned much valuable material for his novel, the most important being the character of Alan Breck."

    • This shows Stevenson’s historical research and how he blended fact with fiction—Alan Breck was real, but his role in the novel is exaggerated and romanticized.

B. The Description of Alan Breck ​

The most vivid and cinematic part of the excerpt is the eyewitness accounts of Alan Breck’s appearance, taken from trial testimony:

  1. First Description (from James Stewart’s letter):

    "a tall, pock-pitted lad, very black hair, and wore a blue coat and metal buttons, an old red vest, and breeches of the same colour."

    • Physical traits: "Tall, pock-pitted" suggests a rough, battle-hardened man (pockmarks were common from smallpox).
    • Clothing: The blue coat with metal buttons and red vest mark him as a soldier (possibly French, given his service abroad).
    • The worn, mismatched clothes ("old red vest, breeches of the same colour") hint at a man on the run, not a gentleman.

  2. Second Description (from another witness):

    "a blue coat with silver buttons, a red waistcoat, black shag breeches, tartan hose, and a feathered hat, with a big coat, dun coloured..."

    • More elaborate: The silver buttons, feathered hat, and tartan hose suggest a Highland warrior’s flair—exotic and striking.
    • The term "French cloathes which were remarkable" (as noted by counsel) reinforces his foreign, rebellious identity (Jacobites were often exiled to France).
  • Why does this matter?
    • Stevenson lifts these details almost verbatim into Kidnapped, making Alan Breck visually memorable.
    • The contrasts in his appearance (soldierly yet unkempt, Highland yet French-influenced) mirror his dual nature: charming but dangerous, loyal but self-serving.

C. The Theme of Guilt and Escape ​

  • The excerpt hints at Alan Breck’s ambiguous morality:

    "He is a desperate foolish fellow; and if he is guilty, came to the country for that very purpose."

    • "Desperate foolish" suggests recklessness, while "came for that very purpose" implies premeditation.
    • Yet, in Kidnapped, Alan Breck is never confirmed as the killer—Stevenson leaves his guilt ambiguous, making him a romantic outlaw rather than a clear villain.

  • The fact that Alan "is not now to be seen" reinforces the theme of escape and evasion, central to both the historical case and the novel.

3. Literary Devices in the Excerpt ​

  1. Juxtaposition of Formal and Informal Language

    • The legalistic heading ("THE TRIAL OF JAMES STEWART...") contrasts with the colloquial descriptions ("desperate foolish fellow").
    • This mirrors Kidnapped’s clash between Lowland law and Highland custom.

  2. Vivid Imagery (Clothing as Characterization)

    • Alan’s distinctive, slightly tattered outfit makes him stand out—just as he does in the novel as a rebel figure.
    • The "French cloathes" symbolize his foreignness and defiance of British authority.

  3. Unreliable Narration (Historical Ambiguity)

    • The witnesses contradict each other (e.g., "metal buttons" vs. "silver buttons"), leaving Alan’s true appearance uncertain.
    • Stevenson exploits this ambiguity in the novel, where Alan is both hero and suspect.

  4. Foreshadowing

    • The phrase "if he is guilty" hints at the moral complexity of Alan’s character in Kidnapped—readers (like David Balfour) are left uncertain whether to trust him.

4. Significance of the Excerpt ​

A. Historical Fiction vs. Reality ​

  • Stevenson does not write a straightforward historical account but uses history as a springboard for adventure.
  • The excerpt shows how he selectively borrows details (Alan’s clothes, the political tension) while inventing the rest (David Balfour’s journey).

B. The Creation of Alan Breck ​

  • The trial records provide Alan’s physical traits, but Stevenson expands him into a literary icon—a Byronic hero: charismatic, morally gray, and defiant of authority.
  • His clothing becomes symbolic:
    • Blue coat (French military) = Jacobite loyalty
    • Tartan hose = Highland identity
    • Feathered hat = flamboyant individualism

C. Themes Introduced ​

  1. Justice vs. Law
    • James Stewart was executed despite doubt—mirroring Kidnapped’s critique of corrupt legal systems (e.g., David’s wrongful kidnapping).
  2. Highland vs. Lowland Scotland
    • The murder reflects the clan conflicts post-1745, a central tension in the novel.
  3. Identity and Disguise
    • Alan’s changing descriptions foreshadow his elusiveness in the story.

5. Conclusion: Why This Excerpt Matters ​

This passage is not just background—it’s the foundation of Kidnapped:

  • It shows how Stevenson blended history with fiction, creating a mythic version of Alan Breck.
  • The trial’s ambiguity allows Alan to remain a mysterious, compelling figure—neither fully hero nor villain.
  • The detailed clothing descriptions make Alan visually iconic, reinforcing his role as a rebel symbol.

In Kidnapped, Alan Breck becomes more than a historical footnote—he embodies the spirit of Highland resistance, and this excerpt reveals how Stevenson crafted that legend from real courtroom testimony.

Final Thought: ​

Stevenson didn’t just write about history—he reimagined it, turning a fugitive Jacobite into one of literature’s most memorable adventurers. The excerpt is a blueprint for how real events can inspire timeless fiction.

Questions ​

Question 1 ​

The passage’s juxtaposition of the formal trial heading with the colloquial descriptions of Alan Breck’s appearance most strongly serves to:

A. Underscore the tension between institutional authority and the unruly individualism of the Highland rebel.
B. Highlight the unreliability of eyewitness testimony in 18th-century Scottish courts.
C. Demonstrate Stevenson’s meticulous research into archival legal documents.
D. Suggest that Alan Breck’s true character is ultimately unknowable due to contradictory accounts.
E. Emphasise the class divide between the educated Lowland gentry and the illiterate Highland clansmen.

Question 2 ​

The phrase “desperate foolish fellow” in James Stewart’s letter carries an implicit tone that is best described as:

A. Admiring, with a hint of envy for Alan Breck’s audacity.
B. Ambivalent, blending condemnation of recklessness with reluctant acknowledgment of purpose.
C. Dismissive, reducing Alan Breck to a mere thug without political motivation.
D. Fearful, framing Alan Breck as an irrational and unpredictable menace.
E. Ironic, undermining the seriousness of the trial with dark humour.

Question 3 ​

The two conflicting descriptions of Alan Breck’s clothing serve a narrative function most analogous to:

A. A detective’s conflicting witness statements, designed to obscure the truth.
B. A painter’s preliminary sketches, each capturing a different facet of a complex subject.
C. A lawyer’s strategic omissions, intended to manipulate a jury’s perception.
D. A historian’s competing sources, revealing the inherent bias in archival records.
E. A tailor’s measurements, providing precise but ultimately irrelevant details.

Question 4 ​

Which of the following best describes the passage’s implicit argument about the relationship between historical fact and literary fiction?

A. Fiction does not merely borrow from history but transmutes it, elevating the ambiguous and the fragmentary into myth.
B. Historical records are inherently more reliable than fictional accounts, which inevitably distort the truth.
C. The best literature adheres strictly to documented facts, avoiding speculative embellishment.
D. Legal documents, despite their formality, are as prone to subjectivity as works of imagination.
E. The line between history and fiction is arbitrary, as both are constructed narratives shaped by perspective.

Question 5 ​

The counsel’s reference to Alan Breck’s attire as “French cloathes which were remarkable” primarily functions to:

A. Establish Alan Breck as a dandy, more concerned with fashion than politics.
B. Suggest that his clothing was an affectation, undermining his credibility as a serious Jacobite.
C. Provide a neutral, objective description to counter the emotional testimony of other witnesses.
D. Frame him as an exotic outsider, reinforcing his role as a disruptive, foreign-aligned figure.
E. Indicate that his appearance was so ordinary it failed to leave a lasting impression.

Solutions and Explanations ​

1) Correct answer: A ​

Why A is most correct: The passage opens with a rigid, bureaucratic heading (“THE TRIAL OF JAMES STEWART...”) that evokes the impersonal authority of the state, only to immediately undercut it with vivid, informal descriptions of Alan Breck’s rebellious persona (e.g., “desperate foolish fellow”, the detailed clothing). This contrast mirrors the central conflict in Kidnapped between Lowland legalism (represented by the trial’s formality) and Highland defiance (embodied by Alan’s unruly, romanticised individualism). The juxtaposition is thematic, not just stylistic, reinforcing the tension between institutional control and personal freedom.

Why the distractors are less supported:

  • B: While eyewitness unreliability is present (e.g., conflicting clothing descriptions), the primary function of the juxtaposition is thematic, not evidentiary.
  • C: Stevenson’s research is mentioned, but the contrast between formal and colloquial language isn’t about research—it’s about clashing worlds.
  • D: The ambiguity of Alan’s character is a secondary effect, not the purpose of the juxtaposition.
  • E: Class divide is implied but not the focus of the contrast; the passage emphasises cultural and political tension more than socioeconomic status.

2) Correct answer: B ​

Why B is most correct: The phrase “desperate foolish fellow” combines disapproval (“foolish”) with a grudging admission of agency (“desperate”, implying boldness; “came to the country for that very purpose”, suggesting intentionality). The tone is ambivalent: James Stewart (the letter’s author) condemns Alan’s recklessness but acknowledges his purposefulness, reflecting the moral complexity of Jacobite resistance. This aligns with Kidnapped’s portrayal of Alan as flawed yet compelling.

Why the distractors are less supported:

  • A: There’s no admiration—“foolish” is pejorative, and the context is a trial, not a eulogy.
  • C: “Desperate” and “for that very purpose” imply motivation, not mere thuggery.
  • D: “Foolish” undercuts pure fear; the tone is judgmental, not terrified.
  • E: The passage is solemn (a murder trial), not ironic or darkly humorous.

3) Correct answer: B ​

Why B is most correct: The two clothing descriptions don’t cancel each other out (as in A or D) nor are they strategically manipulative (C). Instead, they complement each other, each highlighting different aspects of Alan’s identity:

  • The first (plain “blue coat and metal buttons”) suggests a worn, practical soldier.
  • The second (“silver buttons, feathered hat, tartan hose”) adds flamboyance and Highland symbolism. Together, they function like an artist’s sketches, building a multidimensional portrait—just as Stevenson does in Kidnapped, where Alan is both rugged and theatrical.

Why the distractors are less supported:

  • A: The descriptions don’t obscure truth; they enrich the character.
  • C: There’s no evidence of deliberate omission—the variations are organic to eyewitness accounts.
  • D: The passage doesn’t critique historical bias; it uses the variations creatively.
  • E: The details are symbolically loaded (e.g., tartan = Jacobite identity), not irrelevant.

4) Correct answer: A ​

Why A is most correct: The passage demonstrates that Stevenson doesn’t just copy history—he transforms it. The fragmentary, contradictory trial records (e.g., Alan’s conflicting descriptions) become the raw material for mythmaking: Alan Breck in Kidnapped is larger than life, his ambiguity romanticised. The passage implies that fiction elevates history’s gaps and ambiguities into legend, which is the core of A.

Why the distractors are less supported:

  • B: The passage doesn’t privilege historical records as more reliable; it shows how Stevenson reimagines them.
  • C: Stevenson embellishes (e.g., Alan’s charisma exceeds the trial’s dry descriptions).
  • D: While subjectivity in legal documents is implied, the focus is on literary transmutation, not legal critique.
  • E: The passage distinguishes history (factual but incomplete) from fiction (mythic but coherent), not collapsing them.

5) Correct answer: D ​

Why D is most correct: The term “French cloathes” is loaded: in 18th-century Scotland, it would evoke Jacobite exile (many fled to France after 1745) and foreign allegiance. Calling them “remarkable” frames Alan as conspicuously outsider—a disruptive figure aligned with France (Britain’s enemy) and Highland rebellion. This reinforces his role in the novel as a defiant, exotic rebel, not just a local criminal.

Why the distractors are less supported:

  • A: “Dandy” is anachronistic and misreads the political symbolism of the clothes.
  • B: The passage doesn’t undermine Alan’s Jacobite credentials; it highlights his foreign ties.
  • C: The counsel’s remark is not neutral—“remarkable” is judgmental, framing Alan as other.
  • E: The clothes are memorable (hence “remarkable”), not forgettable.