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Excerpt from Travels with a donkey in the Cevennes, by Robert Louis Stevenson

THE DONKEY, THE PACK, AND THE PACK-SADDLE

In a little place called Le Monastier, in a pleasant highland valley
fifteen miles from Le Puy, I spent about a month of fine days. Monastier
is notable for the making of lace, for drunkenness, for freedom of
language, and for unparalleled political dissension. There are adherents
of each of the four French parties--Legitimists, Orleanists,
Imperialists, and Republicans--in this little mountain-town; and they all
hate, loathe, decry, and calumniate each other. Except for business
purposes, or to give each other the lie in a tavern brawl, they have laid
aside even the civility of speech. 'Tis a mere mountain Poland. In the
midst of this Babylon I found myself a rallying-point; every one was
anxious to be kind and helpful to the stranger. This was not merely from
the natural hospitality of mountain people, nor even from the surprise
with which I was regarded as a man living of his own free will in Le
Monastier, when he might just as well have lived anywhere else in this
big world; it arose a good deal from my projected excursion southward
through the Cevennes. A traveller of my sort was a thing hitherto
unheard of in that district. I was looked upon with contempt, like a man
who should project a journey to the moon, but yet with a respectful
interest, like one setting forth for the inclement Pole. All were ready
to help in my preparations; a crowd of sympathisers supported me at the
critical moment of a bargain; not a step was taken but was heralded by
glasses round and celebrated by a dinner or a breakfast.

It was already hard upon October before I was ready to set forth, and at
the high altitudes over which my road lay there was no Indian summer to
be looked for. I was determined, if not to camp out, at least to have
the means of camping out in my possession; for there is nothing more
harassing to an easy mind than the necessity of reaching shelter by dusk,
and the hospitality of a village inn is not always to be reckoned sure by
those who trudge on foot. A tent, above all for a solitary traveller, is
troublesome to pitch, and troublesome to strike again; and even on the
march it forms a conspicuous feature in your baggage. A sleeping-sack,
on the other hand, is always ready--you have only to get into it; it
serves a double purpose--a bed by night, a portmanteau by day; and it
does not advertise your intention of camping out to every curious passer-
by. This is a huge point. If a camp is not secret, it is but a troubled
resting-place; you become a public character; the convivial rustic visits
your bedside after an early supper; and you must sleep with one eye open,
and be up before the day. I decided on a sleeping-sack; and after
repeated visits to Le Puy, and a deal of high living for myself and my
advisers, a sleeping-sack was designed, constructed, and triumphantly
brought home.

Explanation ​

Detailed Explanation of the Excerpt from Travels with a Donkey in the Cevennes by Robert Louis Stevenson ​

Context of the Work ​

Travels with a Donkey in the Cevennes (1879) is a travel memoir by Robert Louis Stevenson, best known for his adventure novels like Treasure Island and Strange Case of Dr. Jekyll and Mr. Hyde. The book recounts Stevenson’s 12-day, 120-mile solo journey through the mountainous Cevennes region of southern France in 1878, accompanied only by a stubborn donkey named Modestine. The work blends travel writing, autobiography, and philosophical reflection, offering insights into rural French life, the joys of solitude, and the challenges of self-reliance.

This excerpt introduces Stevenson’s preparations for his journey, focusing on his interactions with the locals of Le Monastier and his decision to use a sleeping-sack instead of a tent. The passage is rich in social observation, humor, and practical wisdom, while also foreshadowing the themes of isolation, independence, and the unpredictability of travel.

Breakdown of the Excerpt ​

1. Setting and Social Context: Le Monastier as a "Mountain Poland" ​

Stevenson begins by describing Le Monastier, a small highland town near Le Puy, characterized by:

  • Lace-making (a traditional craft, suggesting a mix of industry and artistry).
  • Drunkenness and coarse language (painting a picture of a rough, unrefined rural community).
  • Extreme political division—the town is split among four factions (Legitimists, Orleanists, Imperialists, Republicans), each despising the others. Stevenson calls it a "mountain Poland" (alluding to Poland’s historical political fragmentation) and a "Babylon" (a biblical reference to chaos and division).

Significance:

  • The political strife highlights the instability of post-Franco-Prussian War France (1870–71), where monarchists, Bonapartists, and republicans were still clashing.
  • Despite this internal hostility, the townspeople unify in their curiosity and kindness toward Stevenson, the outsider. This contrast emphasizes the paradox of human nature: capable of both pettiness and generosity.

Literary Device:

  • Irony – The townsfolk, who cannot stand each other, are unanimously fascinated by Stevenson’s strange endeavor.
  • Hyperbole – Describing the town as a "Babylon" exaggerates its chaos for comic effect.

2. Stevenson as the "Rallying-Point" ​

The locals treat Stevenson with a mix of:

  • Contempt (comparing his journey to a "trip to the moon"—absurd and impractical).
  • Respect (like an explorer heading to the "inclement Pole"—brave but foolhardy).
  • Generosity – They help him prepare, celebrate his bargains with drinks, and host feasts in his honor.

Why?

  • Novelty: A lone traveler on foot (let alone with a donkey) was unheard of in the region.
  • Hospitality: Mountain people are traditionally welcoming to strangers (a theme in travel literature).
  • Amusement: His project is a source of entertainment for them.

Literary Device:

  • Juxtaposition – The townspeople’s hostility toward each other vs. their warmth toward Stevenson.
  • Simile – Comparing his journey to the moon/Pole makes his trip seem both ridiculous and heroic.

3. Practical Preparations: The Sleeping-Sack vs. the Tent ​

Stevenson explains his reasoning for choosing a sleeping-sack over a tent:

  • Tents are inconvenient:
    • Hard to pitch and strike (time-consuming for a solo traveler).
    • Conspicuous—draws attention, making camping less private.
    • Attracts "convivial rustics" (drunken locals who might disturb his rest).
  • Sleeping-sacks are superior:
    • Always ready – just climb in.
    • Dual-purpose – serves as a bed by night, luggage by day.
    • Discreet – doesn’t advertise his camping, allowing for undisturbed rest.

Significance:

  • Stevenson’s choice reflects his desire for independence and minimalism.
  • The sleeping-sack symbolizes self-sufficiency—he doesn’t want to rely on inns or others’ hospitality.
  • His distrust of public attention foreshadows later themes of solitude vs. society.

Literary Device:

  • Parallel Structure – He contrasts the troubles of a tent with the ease of a sleeping-sack in a balanced, persuasive manner.
  • Foreshadowing – His concern about "sleeping with one eye open" hints at later challenges on the road (e.g., Modestine’s stubbornness, unfamiliar terrain).

Themes in the Excerpt ​

  1. The Outsider’s Perspective

    • Stevenson is both an observer and a participant—he studies the locals while being studied in return.
    • His foreignness (as a Scot in France) makes him a neutral figure in their political feuds.

  2. Freedom vs. Constraint

    • The townspeople are trapped in their rivalries, while Stevenson chooses adventure.
    • His sleeping-sack represents liberation from societal expectations (no need for inns, schedules, or others’ approval).

  3. The Romance of Travel

    • Stevenson frames his journey as both absurd and noble, a common trope in travel writing.
    • The preparation phase (bargaining, feasting) is as important as the journey itself—it’s a rite of passage.

  4. Humility and Humor

    • He doesn’t take himself too seriously—acknowledging that his trip seems foolish to others.
    • The comical image of a man debating sleeping arrangements with drunken Frenchmen adds levity.

Significance of the Passage ​

  • Introduction to Stevenson’s Travel Philosophy

    • He values simplicity, adaptability, and self-reliance—traits that define his journey.
    • His practicality (sleeping-sack over tent) shows he’s not a naive romantic but a thoughtful traveler.

  • Cultural Snapshot of 19th-Century Rural France

    • The excerpt captures the political tensions, rural customs, and communal life of the Cevennes.
    • Stevenson’s outsider status allows him to critique and appreciate the locals objectively.

  • Foreshadowing the Journey’s Challenges

    • His distrust of public attention hints at later moments of loneliness and resilience.
    • The donkey (not yet introduced here) will become a symbol of both burden and companionship.

Conclusion: Why This Passage Matters ​

This excerpt is more than just a travelogue setup—it’s a microcosm of Stevenson’s entire journey:

  • Social dynamics (how strangers react to the unfamiliar).
  • Practical wisdom (the importance of preparation without over-planning).
  • The tension between solitude and society (a theme that runs through the book).

Stevenson’s witty, observant prose makes even logistical details (like choosing a sleeping-sack) engaging and meaningful. His ability to find humor in cultural differences and philosophy in practical decisions is what makes Travels with a Donkey a classic of travel literature.

Would you like a deeper analysis of any specific aspect, such as Stevenson’s narrative voice or the historical context of the Cevennes?