Article #534-2 | Gutenberg Articles

Excerpt

Excerpt from An inland voyage, by Robert Louis Stevenson

My dear Cigarette,

It was enough that you should have shared so liberally in the rains and
portages of our voyage; that you should have had so hard a paddle to
recover the derelict ‘Arethusa’ on the flooded Oise; and that you
should thenceforth have piloted a mere wreck of mankind to Origny
Sainte-Benoîte and a supper so eagerly desired. It was perhaps more
than enough, as you once somewhat piteously complained, that I should
have set down all the strong language to you, and kept the appropriate
reflexions for myself. I could not in decency expose you to share the
disgrace of another and more public shipwreck. But now that this
voyage of ours is going into a cheap edition, that peril, we shall
hope, is at an end, and I may put your name on the burgee.

But I cannot pause till I have lamented the fate of our two ships.
That, sir, was not a fortunate day when we projected the possession
of a canal barge; it was not a fortunate day when we shared our
day-dream with the most hopeful of day-dreamers. For a while,
indeed, the world looked smilingly. The barge was procured and
christened, and as the ‘Eleven Thousand Virgins of Cologne,’ lay
for some months, the admired of all admirers, in a pleasant river and
under the walls of an ancient town. M. Mattras, the accomplished
carpenter of Moret, had made her a centre of emulous labour; and you
will not have forgotten the amount of sweet champagne consumed in the inn
at the bridge end, to give zeal to the workmen and speed to the work.
On the financial aspect, I would not willingly dwell. The ‘Eleven
Thousand Virgins of Cologne’ rotted in the stream where she was
beautified. She felt not the impulse of the breeze; she was never
harnessed to the patient track-horse. And when at length she was
sold, by the indignant carpenter of Moret, there were sold along with
her the ‘Arethusa’ and the ‘Cigarette,’ she of cedar, she, as
we knew so keenly on a portage, of solid-hearted English oak. Now
these historic vessels fly the tricolor and are known by new and alien
names.

Explanation

**Detailed Explanation of the Excerpt from An Inland Voyage by Robert Louis Stevenson**

Context of the Work

An Inland Voyage (1878) is Robert Louis Stevenson’s first published book, a travel memoir recounting his 1876 canoe trip through Belgium and France with his friend Sir Walter Grindlay Simpson (referred to as "Cigarette" in the text). The journey was undertaken in two small canoes—Arethusa and Cigarette—and the book blends adventure, humor, and philosophical reflection. Stevenson, then a young and relatively unknown writer, later became famous for works like Treasure Island (1883) and Strange Case of Dr. Jekyll and Mr. Hyde (1886).

This excerpt is from the preface to the cheap edition (1881), where Stevenson reflects on the voyage, his companion, and the fate of their boats. The tone is nostalgic, self-deprecating, and witty, blending personal anecdote with broader meditations on failure, ambition, and memory.

Breakdown of the Excerpt

1. Address to "Cigarette" (Opening Paragraph)

"My dear Cigarette, / It was enough that you should have shared so liberally in the rains and portages of our voyage; that you should have had so hard a paddle to recover the derelict ‘Arethusa’ on the flooded Oise; and that you thenceforth have piloted a mere wreck of mankind to Origny Sainte-Benoîte and a supper so eagerly desired."

Tone & Relationship: Stevenson adopts a playful, affectionate tone, addressing his friend by the nickname "Cigarette" (a reference to Simpson’s thin, cigarette-like physique). The use of "my dear" suggests camaraderie, while the litany of hardships ("rains and portages," "hard a paddle," "wreck of mankind") humorously exaggerates their struggles.
Shared Suffering: The phrase "shared so liberally" implies that Simpson endured more than his fair share of the trip’s difficulties. The "derelict ‘Arethusa’" refers to one of their canoes, which nearly capsized in the flooded Oise River, requiring a strenuous rescue.
"Wreck of mankind": A hyperbolic self-deprecation—Stevenson portrays himself as physically and spiritually exhausted, relying on Simpson to guide him to safety (and food).
Origny Sainte-Benoîte: A small French village where they finally reached shelter and a meal, emphasizing the relief after hardship.

"It was perhaps more than enough, as you once somewhat piteously complained, that I should have set down all the strong language to you, and kept the appropriate reflexions for myself."

Humor & Self-Awareness: Stevenson acknowledges that in An Inland Voyage, he attributed all the profanity to Simpson while reserving the witty observations for himself—a literary joke about narrative bias.
"Piteously complained": Suggests Simpson jokingly (or seriously) protested this unfair portrayal.

"I could not in decency expose you to share the disgrace of another and more public shipwreck. But now that this voyage of ours is going into a cheap edition, that peril, we shall hope, is at an end, and I may put your name on the burgee."

"More public shipwreck": A metaphor for the book’s initial reception—perhaps it was not a critical or commercial success. Stevenson humorously suggests that Simpson was spared further embarrassment by not being named in the first edition.
"Cheap edition": The 1881 reprint, which Stevenson treats as a second chance to give Simpson proper credit ("put your name on the burgee"—i.e., the canoe’s flag, symbolizing ownership and honor).
Irony: The "peril" of failure is now past, so Stevenson can publicly acknowledge Simpson without fear of dragging him into disgrace.

2. Lament for the Lost Boats (Second Paragraph)

"But I cannot pause till I have lamented the fate of our two ships. That, sir, was not a fortunate day when we projected the possession of a canal barge; it was not a fortunate day when we shared our day-dream with the most hopeful of day-dreamers."

Shift in Tone: From playful banter to melancholic reflection. Stevenson now mourns the failed ambition of owning a canal barge.
"Not a fortunate day": Repetition for emphasis—this was a doomed idea from the start.
"Day-dream with the most hopeful of day-dreamers": Likely refers to Simpson, whose optimism contrasted with the project’s eventual failure. The alliteration ("day-dream with the most hopeful") adds a lyrical, almost mock-heroic quality.

"For a while, indeed, the world looked smilingly. The barge was procured and christened, and as the ‘Eleven Thousand Virgins of Cologne,’ lay for some months, the admired of all admirers, in a pleasant river and under the walls of an ancient town."

"World looked smilingly": A brief moment of success—the barge was built and named (the "Eleven Thousand Virgins of Cologne" is a satirical, grandiose name, referencing a legendary group of martyrs, which contrasts with the barge’s eventual fate).
"Admired of all admirers": Irony—the barge was a local curiosity, but its glory was short-lived.
Setting: The barge was moored in Moret-sur-Loing, a picturesque town near Paris, adding to the romanticized vision of their adventure.

"M. Mattras, the accomplished carpenter of Moret, had made her a centre of emulous labour; and you will not have forgotten the amount of sweet champagne consumed in the inn at the bridge end, to give zeal to the workmen and speed to the work."

M. Mattras: The craftsman who built the barge—his skill is praised, but the project still failed.
"Emulous labour": The workers competed to make the barge beautiful, suggesting pride and excitement in its construction.
"Sweet champagne": A symbol of celebration and excess—Stevenson and Simpson toasted their ambitions, but the champagne also hints at wasted resources (both money and effort).
Irony: The festive atmosphere contrasts with the barge’s eventual decay and sale.

"On the financial aspect, I would not willingly dwell. The ‘Eleven Thousand Virgins of Cologne’ rotted in the stream where she was beautified. She felt not the impulse of the breeze; she was never harnessed to the patient track-horse."

"Would not willingly dwell": Stevenson avoids detailing the financial disaster, but the implication is clear—they lost money.
"Rotted in the stream": The barge never sailed; instead, it decayed where it was built—a metaphor for failed dreams.
"Felt not the impulse of the breeze": Personification—the barge was meant to be free and adventurous, but it remained stagnant.
"Patient track-horse": Canal barges were often pulled by horses. The barge was never used for its intended purpose.

"And when at length she was sold, by the indignant carpenter of Moret, there were sold along with her the ‘Arethusa’ and the ‘Cigarette,’ she of cedar, she, as we knew so keenly on a portage, of solid-hearted English oak. Now these historic vessels fly the tricolor and are known by new and alien names."

"Indignant carpenter": M. Mattras, likely unpaid or frustrated, sells the barge—and with it, their beloved canoes.
"She of cedar, she of solid-hearted English oak":
- "Arethusa" (cedar) was lighter, perhaps more fragile.
- "Cigarette" (English oak) was sturdy but heavy—Stevenson recalls the struggle of portaging (carrying the canoe over land).
- The personification ("solid-hearted") gives the canoes character, making their loss more poignant.
"Fly the tricolor": The boats were sold to French owners, now bearing the French flag and new names—a symbolic loss of identity.
"Historic vessels": Irony—their canoes were ordinary, but to Stevenson and Simpson, they were legendary.

Key Themes

The Gap Between Dream and Reality
- The canal barge represents an ambitious fantasy that collapsed under practical failures.
- The canoes, though humble, were more successful in their actual voyage, yet even they were lost in the end.
Failure and Nostalgia
- Stevenson laughs at his own misfortunes, but there’s a tinge of sadness in the loss of the boats.
- The cheap edition symbolizes a second chance, but the past cannot be reclaimeda.
Friendship and Shared Struggle
- The banter with "Cigarette" shows affection and mutual suffering.
- The loss of the canoes is also the loss of a shared adventure.
Impermanence and Change
- The boats, once personal and named, are now anonymous and foreign.
- The tricolor symbolizes national and personal displacement.

Literary Devices

Device	Example	Effect
Hyperbole	"wreck of mankind"	Exaggerates exhaustion for comic effect.
Irony	"admired of all admirers" (for a doomed barge)	Highlights the contrast between expectation and reality.
Personification	"she felt not the impulse of the breeze"	Gives the barge a tragic, almost human fate.
Alliteration	"day-dream with the most hopeful of day-dreamers"	Adds musicality and emphasis.
Metaphor	"more public shipwreck" (for the book’s reception)	Compares literary failure to a nautical disaster.
Symbolism	"tricolor" (French flag)	Represents loss of ownership and identity.

Significance of the Passage

Autobiographical Reflection
- Stevenson looks back on his youthful adventure with humor and wistfulness, capturing the spirit of early adulthood—ambition, failure, and camaraderie.
Meta-Commentary on Writing
- The cheap edition allows him to revise history, giving credit to Simpson and acknowledging the selective nature of memoir.
Universal Themes of Loss
- The fate of the boats mirrors broader human experiences—dreams that don’t materialize, possessions that slip away, and memories that fade.
Stevenson’s Style
- The passage showcases his wit, self-deprecation, and lyrical prose, which would later define his fiction.
- The blend of humor and melancholy is characteristic of his work (e.g., Travels with a Donkey, The Silverado Squatters).

Conclusion: Why This Excerpt Matters

This short preface is more than just an introduction—it’s a microcosm of Stevenson’s themes: the romance of adventure, the inevitability of failure, and the enduring value of friendship. The canoes and barge become symbols of youthful idealism, while their sale marks the transition into adulthood, where dreams must be abandoned or repurposed.

Stevenson’s voice—charming, ironic, and deeply human—makes the passage resonate beyond its time, speaking to anyone who has ever pursued a grand idea, only to watch it drift away.

Questions

Question 1

The narrator’s decision to "put your name on the burgee" in the cheap edition most strongly suggests that:

A. the initial publication’s omission of "Cigarette" was a strategic attempt to shield a friend from the embarrassment of a poorly received work, now rendered moot by the passage of time.
B. the narrator has finally overcome his earlier reluctance to share credit due to a newfound sense of fairness in his mature years.
C. the cheap edition’s commercial success has provided the financial security necessary to publicly acknowledge his companion’s contributions.
D. "Cigarette" had previously demanded recognition in writing, and the narrator is now capitulating to this long-standing grievance.
E. the act of naming is purely symbolic, as the cheap edition’s readership is unlikely to care about the identity of a minor figure in the voyage.

Question 2

The phrase "the world looked smilingly" primarily serves to:

A. underscore the naivety of the narrator and his companion in assuming their project would succeed without proper planning.
B. introduce a fleeting moment of optimism that is immediately undercut by the financial realities described later.
C. contrast the beauty of the barge’s surroundings with the ugliness of its eventual decay in the same location.
D. emphasize the admiration the barge garnered from locals, which temporarily masked its structural flaws.
E. evoke a tone of ironic nostalgia, where the memory of brief happiness is tinged with the knowledge of its inevitability as a prelude to failure.

Question 3

The "indignant carpenter of Moret" is most plausibly indignant because:

A. the narrator and "Cigarette" failed to pay him for his labor, forcing him to recoup losses by selling the vessels.
B. the barge’s design flaws, which he had warned against, led to its rapid deterioration and his professional reputation suffering.
C. the narrator’s literary account of the voyage misrepresented the quality of his craftsmanship, damaging his local standing.
D. the vessels, despite his meticulous work, were never used as intended, rendering his efforts ultimately futile.
E. the sale of the boats to French owners symbolized a betrayal of his artisanal pride, as they were repurposed under "alien names."

Question 4

The contrast between the "Eleven Thousand Virgins of Cologne" and the "Arethusa" and "Cigarette" is most effectively interpreted as a juxtaposition of:

A. religious grandeur versus secular practicality, reflecting the narrator’s disillusionment with idealism.
B. collective myth versus individual experience, where the barge’s name mocks the personal significance of the canoes.
C. European history versus British engineering, highlighting cultural tensions in the voyage.
D. a doomed commercial venture versus a successful personal adventure, underscoring the narrator’s mixed feelings about ambition.
E. the absurdity of overambition versus the modest reliability of tried-and-tested tools, with the canoes outlasting the barge in utility if not in fate.

Question 5

The passage’s closing sentence—"Now these historic vessels fly the tricolor and are known by new and alien names"—primarily functions to:

A. criticize French nationalism by implying the boats were "stolen" through cultural appropriation.
B. emphasize the finality of loss, where even the names (and by extension, the memories associated with them) have been erased and replaced.
C. suggest that the boats’ new identities are an improvement, as they are now part of a larger, more prestigious maritime tradition.
D. highlight the narrator’s resentment toward the buyers, who failed to appreciate the boats’ sentimental value.
E. foreshadow a future reunion with the vessels, where their "historic" status might restore their original significance.

Solutions and Explanations

1) Correct answer: A

Why A is most correct: The narrator explicitly states he "could not in decency expose you to share the disgrace of another and more public shipwreck," implying the initial omission was protective. The "cheap edition" removes this risk ("that peril, we shall hope, is at an end"), allowing him to now credit "Cigarette" without fear of associating them with failure. This aligns with Stevenson’s playful yet considerate tone toward his friend.