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Excerpt

Excerpt from A Footnote to History: Eight Years of Trouble in Samoa, by Robert Louis Stevenson

All morning the town was strangely deserted, the very children gone. A
sense of expectation reigned, and sympathy for the attack was expressed
publicly. Some men with unblacked faces came to Moors's store for
biscuit. A native woman, who was there marketing, inquired after the
news, and, hearing that the battle was now near at hand, "Give them two
more tins," said she; "and don't put them down to my husband--he would
growl; put them down to me." Between twelve and one, two white men
walked toward Matautu, finding as they went no sign of war until they had
passed the Vaisingano and come to the corner of a by-path leading to the
bush. Here were four blackened warriors on guard,--the extreme left wing
of the Mataafa force, where it touched the waters of the bay. Thence the
line (which the white men followed) stretched inland among bush and
marsh, facing the forts of the Tamaseses. The warriors lay as yet
inactive behind trees; but all the young boys and harlots of Apia toiled
in the front upon a trench, digging with knives and cocoa-shells; and a
continuous stream of children brought them water. The young sappers
worked crouching; from the outside only an occasional head, or a hand
emptying a shell of earth, was visible; and their enemies looked on inert
from the line of the opposing forts. The lists were not yet prepared,
the tournament was not yet open; and the attacking force was suffered to
throw up works under the silent guns of the defence. But there is an end
even to the delay of islanders. As the white men stood and looked, the
Tamasese line thundered into a volley; it was answered; the crowd of
silent workers broke forth in laughter and cheers; and the battle had
begun.

Thenceforward, all day and most of the next night, volley followed
volley; and pounds of lead and pounds sterling of money continued to be
blown into the air without cessation and almost without result. Colonel
de Coetlogon, an old soldier, described the noise as deafening. The
harbour was all struck with shots; a man was knocked over on the German
war-ship; half Apia was under fire; and a house was pierced beyond the
Mulivai. All along the two lines of breastwork, the entrenched enemies
exchanged this hail of balls; and away on the east of the battle the
fusillade was maintained, with equal spirit, across the narrow barrier of
the Fuisa. The whole rear of the Tamaseses was enfiladed by this flank
fire; and I have seen a house there, by the river brink, that was riddled
with bullets like a piece of worm-eaten wreck-wood. At this point of the
field befell a trait of Samoan warfare worth recording. Taiese (brother
to Siteoni already mentioned) shot a Tamasese man. He saw him fall, and,
inflamed with the lust of glory, passed the river single-handed in that
storm of missiles to secure the head. On the farther bank, as was but
natural, he fell himself; he who had gone to take a trophy remained to
afford one; and the Mataafas, who had looked on exulting in the prospect
of a triumph, saw themselves exposed instead to a disgrace. Then rose
one Vingi, passed the deadly water, swung the body of Taiese on his back,
and returned unscathed to his own side, the head saved, the corpse filled
with useless bullets.

At this rate of practice, the ammunition soon began to run low, and from
an early hour of the afternoon, the Malietoa stores were visited by
customers in search of more. An elderly man came leaping and cheering,
his gun in one hand, a basket of three heads in the other. A fellow came
shot through the forearm. "It doesn't hurt now," he said, as he bought
his cartridges; "but it will hurt to-morrow, and I want to fight while I
can." A third followed, a mere boy, with the end of his nose shot off:
"Have you any painkiller? give it me quick, so that I can get back to
fight." On either side, there was the same delight in sound and smoke
and schoolboy cheering, the same unsophisticated ardour of battle; and
the misdirected skirmish proceeded with a din, and was illustrated with
traits of bravery that would have fitted a Waterloo or a Sedan.

Explanation

Robert Louis Stevenson’s A Footnote to History: Eight Years of Trouble in Samoa (1892) is a nonfiction account of the Samoan Civil War (1886–1894), a conflict fueled by colonial rivalries (Germany, Britain, and the U.S.) and internal Samoan power struggles between rival chiefs, primarily Mata’afa Iosefo and Tamasese Titimaea. Stevenson, who lived in Samoa from 1889 until his death in 1894, wrote this work as both an eyewitness and a passionate advocate for Samoan sovereignty. The excerpt captures a pivotal battle near Apia, blending vivid reportage with Stevenson’s characteristic narrative flair. Below is a detailed breakdown of the passage, focusing on its themes, literary devices, historical context, and textual significance.

1. Context of the Excerpt

The scene depicts the Battle of Vailele (or a related skirmish in the 1890s), part of the broader conflict between the Mata’afa and Tamasese factions. The war was exacerbated by foreign interference, as European powers backed different sides to secure influence in Samoa. Stevenson’s account is pro-Mata’afa, reflecting his alignment with their cause (he later befriended Mata’afa Iosefo). The excerpt highlights:

The pre-battle tension in Apia, a town caught in the crossfire.
The ritualistic and communal nature of Samoan warfare, contrasting with European military discipline.
The futility and brutality of colonial-provoked conflict, where "pounds of lead and pounds sterling" are wasted without clear victory.

2. Themes

A. The Spectacle of War

Stevenson frames the battle as a theatrical performance, emphasizing its ceremonial and almost festive aspects:

The town’s eerie emptiness ("strangely deserted") builds anticipation, like the calm before a play begins.
The digging of trenches by boys and "harlots" (likely a term for camp followers, not necessarily pejorative) with "knives and cocoa-shells" underscores the improvised, communal effort—war as a shared endeavor, not just a military operation.
The cheering crowd when the first shots are fired mirrors a sporting event: "the crowd of silent workers broke forth in laughter and cheers."

This portrayal critiques the romanticization of war, showing how combat becomes a public spectacle where glory is performative (e.g., Taiese’s doomed attempt to claim a head).

B. Colonial Exploitation and Waste

Stevenson subtly indicts the foreign powers whose interventions fueled the conflict:

The economic cost is highlighted: "pounds of lead and pounds sterling" blown away, suggesting both material waste and the commodification of war (ammunition sold like goods).
The German warship being hit implies the direct involvement of colonial forces, though they claim neutrality.
The indiscriminate firing ("half Apia was under fire") shows how the war disrupts civilian life, a common feature of colonial proxy wars.

C. Samoan Bravery and Cultural Values

Stevenson contrasts Samoan warrior ethics with European expectations:

Taiese’s solo charge to retrieve a head reflects the traditional Samoan practice of taking trophies (‘ulu or heads) as proof of valor. His death—"he who had gone to take a trophy remained to afford one"—is tragic but framed as inevitable in a culture that prizes honor.
Vingi’s rescue of Taiese’s body (and head) is a moment of heroic loyalty, prioritizing the dignity of the dead over self-preservation.
The wounded warriors’ defiance:
- The man with a shot forearm: "It doesn’t hurt now... but it will hurt tomorrow"—a darkly humorous, stoic acceptance of pain.
- The boy with his nose shot off asking for "painkiller" to return to battle—youthful zeal and the normalization of violence.

These moments humanize the fighters, showing their agency and cultural pride amid a war imposed by outsiders.

D. The Absurdity of War

Stevenson’s tone oscillates between admiration for bravery and irony about its futility:

The battle is compared to Waterloo or Sedan (famous European battles), but the comparison is sarcastic—this is not a grand historical clash but a petty, misdirected skirmish ("the misdirected skirmish proceeded with a din").
The schoolboy-like cheering and "unsophisticated ardour" suggest naivety, as if the warriors don’t fully grasp the stakes.
The house "riddled with bullets like worm-eaten wreck-wood" is a grotesque image, emphasizing destruction without purpose.

3. Literary Devices

A. Vivid Imagery and Sensory Detail

Stevenson’s prose is cinematic, immersing the reader in the scene:

Visual: "four blackened warriors on guard" (their faces darkened for battle), "an occasional head, or a hand emptying a shell of earth" (the trench-diggers).
Auditory: "the Tamasese line thundered into a volley", "deafening noise", "din"—the sound of war dominates.
Tactile: The wounded man’s forearm, the boy’s shot-off nose—physical pain is palpable.

B. Irony and Juxtaposition

The contradiction between preparation and chaos:
- The methodical digging of trenches vs. the sudden, chaotic volley.
- The silent guns initially allowing the attackers to work, then the explosive response.
Heroism vs. futility:
- Taiese’s glorious charge ends in his body being riddled with bullets—his head becomes a trophy for the enemy.
- The elderly man leaping with a basket of heads is both horrifying and darkly comic.

C. Symbolism

The trench: Represents both preparation and vulnerability—the Samoans dig with primitive tools, exposed to enemy fire.
The heads: Symbolize honor, but also the dehumanizing cost of war.
The "worm-eaten wreck-wood" house: A metaphor for Samoa itself, decayed by colonial conflict.

D. Narrative Pacing

The slow build (deserted town, tense waiting) explodes into action with the first volley.
The shift from collective to individual stories (Taiese, Vingi, the wounded warriors) personalizes the war.

4. Significance of the Passage

A. Stevenson’s Perspective as an Outsider-Insider

As a Scottish writer living in Samoa, Stevenson occupies a unique position:

He critiques colonialism but also romanticizes Samoan culture (sometimes problematically, e.g., calling women "harlots").
His sympathy for the Mata’afa aligns with his anti-imperialist stance, but his European gaze still shapes the narrative.

B. Historical Value

The excerpt is a primary source on:

Samoan warfare tactics (trench-digging, head-taking).
The impact of colonial arms trade (ammunition sales, foreign ships in the harbor).
Civilian involvement in conflict (children fetching water, women supplying food).

C. Literary Influence

Stevenson’s blend of journalism and storytelling influenced later war correspondence and postcolonial literature. His focus on individual bravery amid chaos prefigures works like:

Ernest Hemingway’s war reporting (e.g., A Farewell to Arms).
Chinua Achebe’s Things Fall Apart (which also critiques colonial disruption of indigenous cultures).

D. Moral Ambiguity

The passage doesn’t glorify war but doesn’t fully condemn it either. Stevenson:

Admires the warriors’ courage (Vingi’s rescue, the wounded fighting on).
Mocks the senselessness ("schoolboy cheering").
Implicates the reader by making the battle visceral and immediate—forcing us to confront its reality.

5. Key Takeaways from the Text Itself

War as Performance: The battle is staged like a tournament, with an audience (the town), participants (the diggers), and a dramatic opening (the first volley).
Cultural Clash: Samoan traditional values (honor, trophies) collide with modern warfare (guns, trenches).
The Human Cost: The wounded warriors’ dialogue ("it will hurt tomorrow") humanizes the fighters, making their suffering real.
Colonial Shadow: The German warship, the ammunition trade, and the indiscriminate firing remind us that this is not just a Samoan conflict—it’s a proxy war.
Stevenson’s Voice: His mix of detachment and empathy creates a complex tone—neither fully objective nor entirely partisan.

Conclusion

This excerpt is a microcosm of Stevenson’s broader work: a vivid, morally ambiguous portrayal of war that critiques colonialism while celebrating Samoan resilience. The battle is both heroic and absurd, the warriors both noble and naive. By focusing on individual moments (Taiese’s charge, the boy’s missing nose), Stevenson universalizes the experience of war, making it intimate and immediate. The passage remains powerful today as a reminder of how external powers exploit indigenous conflicts, and how cultures resist even as they are torn apart.

Would you like a deeper dive into any specific aspect (e.g., Stevenson’s political views, Samoan warfare traditions, or the colonial context)?

Questions

Question 1

The passage’s depiction of the Samoan warriors’ actions—particularly Taiese’s fatal charge and Vingi’s retrieval of his body—primarily serves to:

A. Undermine the legitimacy of Samoan martial traditions by framing them as reckless and outdated.
B. Highlight the tension between cultural imperatives and the pragmatic realities of modern warfare.
C. Glorify the Mata’afa faction’s superiority by contrasting their bravery with the Tamaseses’ cowardice.
D. Illustrate the inevitability of colonial domination through the futility of indigenous resistance.
E. Suggest that Samoan warfare is inherently performative, lacking the strategic depth of European military tactics.

Question 2

The narrator’s description of the battle as a “misdirected skirmish” with “schoolboy cheering” and “unsophisticated ardour” most strongly implies that:

A. The Samoans are childlike in their inability to grasp the seriousness of warfare.
B. The conflict is a tragic but necessary step toward Samoan political maturation.
C. The battle’s participants are unaware of the colonial powers manipulating their actions.
D. The war’s spectacle obscures its underlying futility, revealing a disconnect between perception and reality.
E. Stevenson’s European perspective prevents him from fully appreciating Samoan martial customs.

Question 3

The image of the house “riddled with bullets like a piece of worm-eaten wreck-wood” functions most effectively as:

A. A metaphor for the irreversible decay of Samoan sovereignty under colonial pressure.
B. A critique of the indiscriminate violence that reduces human habitations to detritus.
C. A symbolic representation of the Tamaseses’ strategic weakness in the conflict.
D. An indictment of the Mata’afa’s willingness to destroy their own land for tactical advantage.
E. A literal description of the battle’s collateral damage, devoid of broader thematic significance.

Question 4

The passage’s structural shift—from the town’s eerie anticipation to the battle’s chaotic eruption—is primarily designed to:

A. Mirror the psychological progression of the Samoan people from fear to defiance.
B. Emphasize the abrupt transition from colonial-imposed order to indigenous anarchy.
C. Create a narrative parallel between the digging of trenches and the digging of graves.
D. Contrast the disciplined preparation of the Mata’afa with the Tamaseses’ reactive aggression.
E. Underscore the arbitrary and performative nature of the conflict’s escalation.

Question 5

Stevenson’s inclusion of the wounded warriors’ dialogue (“It doesn’t hurt now... but it will hurt tomorrow”) is most likely intended to:

A. Demonstrate the Samoans’ stoicism as a cultural virtue superior to European sensibilities.
B. Expose the absurdity of glorifying pain while simultaneously acknowledging its inevitability.
C. Provide a moment of dark humor to alleviate the passage’s otherwise grim tone.
D. Highlight the warriors’ naivety in underestimating the long-term consequences of their actions.
E. Critique the colonial arms trade by showing how it prolongs suffering beyond the battlefield.

Solutions and Explanations

1) Correct answer: B

Why B is most correct: The passage juxtaposes Taiese’s culturally motivated charge (seeking a head as a trophy) with its pragmatic outcome (his death and the loss of the head to the enemy). This tension—between traditional honor codes and the brutal realities of gunfire warfare—is central to Stevenson’s portrayal. The scene doesn’t outright condemn Samoan customs (ruling out A) or glorify one faction (ruling out C), but it does reveal how modern weaponry disrupts indigenous practices, forcing a clash between symbolic victory (taking a head) and tactical defeat (becoming a target).