The Works of Robert Louis Stevenson - Swanston Edition, Vol. 07 — Story, Setting & Ideas

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Stevenson, Robert Louis, 1850-1894 Project Gutenberg 2009 Not confirmed
Fiction; English literature -- 19th century Readers of public-domain and historical texts
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Words 125,926
Reading time 548 min
Text sections 12

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This volume pairs Stevenson's ironic romance 'Prince Otto' with the farcical 'The Wrong Box', linked by a shared interest in bureaucratic absurdity, unreliable narration, and the comic potential of legal and political systems.
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Otto was somewhat abashed at this deduction, and he made haste to change his ground. "But," said he, "you surprise me by what you say of this Prince Otto. I have heard him, I must own, more favourably painted. I was told he was, in his heart, a good fellow, and the enemy of no one but himself."

"And so he is, sir," said the girl, "a very handsome, pleasant prince; and we know some who would shed their blood for him."

"O! Kuno!" said Fritz. "An ignoramus!"

"Ay, Kuno, to be sure," quavered the old farmer. "Well, since this gentleman is a stranger to these parts, and curious about the Prince, I do believe that story might divert him. This Kuno, you must know, sir, is one of the hunt servants, and a most ignorant, intemperate man: a right Gruenewalder, as we say in Gerolstein. We know him well, in this house; for he has come as far as here after his stray dogs; and I make all welcome, sir, without account of state or nation. And, indeed, between Gerolstein and Gruenewald the peace has held so long that the roads stand open like my door; and a man will make no more of the frontier than the very birds themselves."

"Ay," said Otto, "it has been a long peace--a peace of centuries."

"Centuries, as you say," returned Killian: "the more the pity that it should not be for ever. Well, sir, this Kuno was one day in fault, and Otto, who has a quick temper, up with his whip and thrashed him, they do say, soundly. Kuno took it as best he could, but at last he broke out, and dared the Prince to throw his whip away and wrestle like a man; for we are all great at wrestling in these parts, and it's so that we generally settle our disputes. Well, sir, the Prince did so; and, being a weakly creature, found the tables turned; for the man whom he had just been thrashing like a negro slave, lifted him with a back grip and threw him heels overhead."

"He broke his bridle-arm," cried Fritz--"and some say his nose. Serve him right, say I! Man to man, which is the better at that?"

"And then?" asked Otto.

"O, then Kuno carried him home; and they were the best of friends from that day forth. I don't say it's a discreditable story, you observe," continued Mr. Gottesheim; "but it's droll, and that's the fact. A man should think before he strikes; for, as my nephew says, man to man was the old valuation."

"Now, if you were to ask me," said Otto, "I should perhaps surprise you. I think it was the Prince that conquered."

"And, sir, you would be right," replied Killian seriously. "In the eyes of God, I do not question but you would be right; but men, sir, look at these things differently, and they laugh."

"They made a song of it," observed Fritz. "How does it go? Ta-tum-ta-ra...."

"Well," interrupted Otto, who had no great anxiety to hear the song, "the Prince is young; he may yet mend."

"Not so young, by your leave," cried Fritz. "A man of forty."

"Thirty-six," corrected Mr. Gottesheim.

"O," cried Ottilia, in obvious disillusion, "a man of middle age! And they said he was so handsome when he was young!"

"And bald, too," added Fritz.

Otto passed his hand among his locks. At that moment he was far from happy, and even the tedious evenings at Mittwalden Palace began to smile upon him by comparison.

"O, six-and-thirty!" he protested. "A man is not yet old at six-and-thirty. I am that age myself."

"I should have taken you for more, sir," piped the old farmer. "But if that be so, you are of an age with Master Ottekin, as people call him; and, I would wager a crown, have done more service in your time. Though it seems young by comparison with men of a great age like me, yet it's some way through life for all that; and the mere fools and fiddlers are beginning to grow weary and to look old. Yes, sir, by six-and-thirty, if a man be a follower of God's laws, he should have made himself a home and a good name to live by; he should have got a wife and a blessing on his marriage; and his works, as the Word says, should begin to follow him."

"Ah, well, the Prince is married," cried Fritz, with a coarse burst of laughter.

"That seems to entertain you, sir," said Otto.

"Ay," said the young boor. "Did you not know that? I thought all Europe knew it!" And he added a pantomime of a nature to explain his accusation to the dullest.

"Ah sir," said Mr. Gottesheim, "it is very plain that you are not from hereabouts! But the truth is, that the whole princely family and Court are rips and rascals, not one to mend another. They live, sir, in idleness and--what most commonly follows it--corruption. The Princess has a lover; a Baron, as he calls himself, from East Prussia; and the Prince is so little of a man, sir, that he holds the candle. Nor is that the worst of it, for this foreigner and his paramour are suffered to transact the state affairs, while the Prince takes the salary and leaves all things to go to wrack. There will follow upon this some manifest judgment which, though I am old, I may survive to see."

"Good man, you are in the wrong about Gondremark," said Fritz, showing a greatly increased animation; "but for all the rest, you speak the God's truth like a good patriot. As for the Prince, if he would take and strangle his wife, I would forgive him yet."

"Nay, Fritz," said the old man, "that would be to add iniquity to evil. For you perceive, sir," he continued, once more addressing himself to the unfortunate Prince, "this Otto has himself to thank for these disorders. He has his young wife, and his principality, and he has sworn to cherish both."

"Sworn at the altar!" echoed Fritz. "But put your faith in princes!"

"Well, sir, he leaves them both to an adventurer from East Prussia," pursued the farmer: "leaves the girl to be seduced and to go on from bad to worse, till her name's become a tap-room by-word, and she not yet twenty; leaves the country to be overtaxed, and bullied with armaments, and jockied into war----"

"So they say, sir; those that watch their ongoings, say to war," asseverated Killian. "Well, sir, that is very sad; it is a sad thing for this poor, wicked girl to go down to hell with people's curses; it's a sad thing for a tight little happy country to be misconducted; but whoever may complain, I humbly conceive, sir, that this Otto cannot. What he has worked for, that he has got; and may God have pity on his soul, for a great and a silly sinner's!"

"He has broke his oath; then he is a perjurer. He takes the money and leaves the work; why, then plainly he's a thief. A cuckold he was before, and a fool by birth. Better me that!" cried Fritz, and snapped his fingers.

"And now, sir, you will see a little," continued the farmer, "why we think so poorly of this Prince Otto. There's such a thing as a man being pious and honest in the private way; and there is such a thing, sir, as a public virtue; but when a man has neither, the Lord lighten him! Even this Gondremark, that Fritz here thinks so much of----"

"Ay," interrupted Fritz, "Gondremark's the man for me. I would we had his like in Gerolstein."

"He is a bad man," said the old farmer, shaking his head; "and there was never good begun by the breach of God's commandments. But so far I will go with you: he is a man that works for what he has."

"I tell you he's the hope of Gruenewald," cried Fritz. "He doesn't suit some of your high-and-dry, old, ancient ideas; but he's a downright modern man--a man of the new lights and the progress of the age. He does some things wrong; so they all do; but he has the people's interests next his heart; and you mark me--you, sir, who are a Liberal, and the enemy of all their governments, you please to mark my words--the day will come in Gruenewald, when they take out that yellow-headed skulk of a Prince and that dough-faced Messalina of a Princess, march 'em back foremost over the borders, and proclaim the Baron Gondremark first President. I've heard them say it in a speech. I was at a meeting once at Brandenau, and the Mittwalden delegates spoke up for fifteen thousand. Fifteen thousand, all brigaded, and each man with a medal round his neck to rally by. That's all Gondremark."

"Ay, sir, you see what it leads to: wild talk to-day, and wilder doings to-morrow," said the old man. "For there is one thing certain: that this Gondremark has one foot in the Court backstairs, and the other in the Masons' lodges. He gives himself out, sir, for what nowadays they call a patriot: a man from East Prussia!"

"Give himself out!" cried Fritz. "He is! He is to lay by his title as soon as the Republic is declared; I heard it in a speech."

"Lay by Baron to take up President?" returned Killian. "King Log, King Stork. But you'll live longer than I, and you will see the fruits of it."

"Father," whispered Ottilia, pulling at the speaker's coat, "surely the gentleman is ill."

"I beg your pardon," cried the farmer, re-waking to hospitable thoughts; "can I offer you anything?"

"I thank you. I am very weary," answered Otto. "I have presumed upon my strength. If you would show me to a bed, I should be grateful."

"Ottilia, a candle!" said the old man. "Indeed sir, you look paley. A little cordial water? No? Then follow me, I beseech you, and I will bring you to the stranger's bed. You are not the first by many who has slept well below my roof," continued the old gentleman, mounting the stairs before his guest; "for good food, honest wine, a grateful conscience, and a little pleasant chat before a man retires, are worth all the possets and apothecary's drugs. See, sir," and here he opened a door and ushered Otto into a little whitewashed sleeping-room, "here you are in port. It is small, but it is airy, and the sheets are clean and kept in lavender. The window, too, looks out above the river, and there's no music like a little river's. It plays the same tune (and that's the favourite) over and over again, and yet does not weary of it like men fiddlers. It takes the mind out of doors; and though we should be grateful for good houses, there is, after all, no house like God's out-of-doors. And lastly, sir, it quiets a man down like saying his prayers. So here, sir, I take my kind leave of you until to-morrow; and it is my prayerful wish that you may slumber like a prince."

And the old man, with the twentieth courteous inclination, left his guest alone.

IN WHICH THE PRINCE COMFORTS AGE AND BEAUTY AND DELIVERS A LECTURE ON DISCRETION IN LOVE

The Prince was early abroad: in the time of the first chorus of birds, of the pure and quiet air, of the slanting sunlight and the mile-long shadows. To one who had passed a miserable night, the freshness of that hour was tonic and reviving; to steal a march upon his slumbering fellows, to be the Adam of the coming day, composed and fortified his spirits; and the Prince, breathing deep and pausing as he went, walked in the wet fields beside his shadow, and was glad.

A trellised path led down into the valley of the brook, and he turned to follow it. The stream was a break-neck, bolling highland river. Hard by the farm, it leaped a little precipice in a thick grey-mare's tail of twisted filaments, and then lay and worked and bubbled in a lynn. Into the middle of this quaking pool a rock protruded, shelving to a cape; and thither Otto scrambled and sat down to ponder.

Soon the sun struck through the screen of branches and thin early leaves that made a hanging bower above the fall; and the golden lights and flitting shadows fell upon and marbled the surface of that seething pot; and rays plunged deep among the turning waters; and a spark, as bright as a diamond, lit upon the swaying eddy. It began to grow warm where Otto lingered, warm and heady; the lights swam, weaving their maze across the shaken pool; on the impending rock, reflections danced like butterflies; and the air was fanned by the waterfall as by a swinging curtain.

Otto, who was weary with tossing and beset with horrid phantoms of remorse and jealousy, instantly fell dead in love with that sun-chequered, echoing corner. Holding his feet, he stared out of a drowsy trance, wondering, admiring, musing, losing his way among uncertain thoughts. There is nothing that so apes the external bearing of free will as that unconscious bustle, obscurely following liquid laws, with which a river contends among obstructions. It seems the very play of man and destiny, and as Otto pored on these recurrent changes, he grew, by equal steps, the sleepier and the more profound. Eddy and Prince were alike jostled in their purpose, alike anchored by intangible influences in one corner of the world. Eddy and Prince were alike useless, starkly useless, in the cosmology of men. Eddy and Prince--Prince and Eddy.

It is probable he had been some while asleep when a voice recalled him from oblivion. "Sir," it was saying; and looking round, he saw Mr. Killian's daughter, terrified by her boldness, and making bashful signals from the shore. She was a plain, honest lass, healthy and happy and good, and with that sort of beauty that comes of happiness and health. But her confusion lent her for the moment an additional charm.

"Good-morning," said Otto, rising and moving towards her. "I arose early and was in a dream."

"O, sir!" she cried, "I wish to beg of you to spare my father; for I assure your Highness, if he had known who you was, he would have bitten his tongue out sooner. And Fritz, too--how he went on! But I had a notion; and this morning I went straight down into the stable, and there was your Highness's crown upon the stirrup-irons! But, O, sir, I made certain you would spare them; for they were as innocent as lambs."

"My dear," said Otto, both amused and gratified, "you do not understand. It is I who am in the wrong; for I had no business to conceal my name and lead on these gentlemen to speak of me. And it is I who have to beg of you that you will keep my secret and not betray the discourtesy of which I was guilty. As for any fear of me, your friends are safe in Gerolstein; and even in my own territory, you must be well aware I have no power."

"O, sir," she said, curtseying, "I would not say that: the huntsmen would all die for you."

"Happy Prince!" said Otto. "But although you are too courteous to avow the knowledge, you have had many opportunities of learning that I am a vain show. Only last night we heard it very clearly stated. You see the shadow flitting on this hard rock? Prince Otto, I am afraid, is but the moving shadow, and the name of the rock is Gondremark. Ah! if your friends had fallen foul of Gondremark! But happily the younger of the two admires him. But as for the old gentleman your father, he is a wise man and an excellent talker, and I would take a long wager he is honest."

"O, for honest, your Highness, that he is!" exclaimed the girl. "And Fritz is as honest as he. And as for all they said, it was just talk and nonsense. When countryfolk get gossiping, they go on, I do assure you, for the fun; they don't as much as think of what they say. If you went to the next farm, it's my belief you would hear as much against my father."

"Nay, nay," said Otto, "there you go too fast. For all that was said against Prince Otto----"

"O, it was shameful!" cried the girl.

"Not shameful--true," returned Otto. "O, yes--true. I am all they said of me--all that and worse."

"I never!" cried Ottilia. "Is that how you do? Well, you would never be a soldier. Now, if anyone accuses me, I get up and give it them. O, I defend myself. I wouldn't take a fault at another person's hands, no, not if I had it on my forehead. And that's what you must do, if you mean to live it out. But, indeed, I never heard such nonsense. I should think you was ashamed of yourself! You're bald, then, I suppose?"

"O, no," said Otto, fairly laughing. "There I acquit myself: not bald!"

"Well, and good?" pursued the girl. "Come now, you know you are good, and I'll make you say so.... Your Highness, I beg your humble pardon. But there's no disrespect intended. And anyhow, you know you are."

"Why, now, what am I to say?" replied Otto. "You are a cook, and excellently well you do it; I embrace the chance of thanking you for the ragout. Well now, have you not seen good food so bedevilled by unskilful cookery that no one could be brought to eat the pudding? That is me, my dear. I am full of good ingredients, but the dish is worthless. I am--I give it you in one word--sugar in the salad."

"Well, I don't care, you're good," reiterated Ottilia, a little flushed by having failed to understand.

"I will tell you one thing," replied Otto: "You are!"

"Ah, well, that's what they all said of you," moralised the girl; "such a tongue to come round--such a flattering tongue!"

"O, you forget, I am a man of middle age," the Prince chuckled.

"Well, to speak to you, I should think you was a boy; and Prince or no Prince, if you came worrying where I was cooking, I would pin a napkin to your tails.... And, O Lord, I declare I hope your Highness will forgive me," the girl added. "I can't keep it in my mind."

"No more can I," cried Otto. "That is just what they complain of!"

They made a loverly-looking couple; only the heavy pouring of that horse-tail of water made them raise their voices above lovers' pitch. But to a jealous onlooker from above, their mirth and close proximity might easily give umbrage; and a rough voice out of a tuft of brambles began calling on Ottilia by name. She changed colour at that. "It is Fritz," she said. "I must go."

"Go, my dear, and I need not bid you go in peace, for I think you have discovered that I am not formidable at close quarters," said the Prince, and made her a fine gesture of dismissal.

So Ottilia skipped up the bank, and disappeared into the thicket, stopping once for a single blushing bob--blushing, because she had in the interval once more forgotten and remembered the stranger's quality.

Otto returned to his rock promontory; but his humour had in the meantime changed. The sun now shone more fairly on the pool; and over its brown, welling surface, the blue of heaven and the golden green of the spring foliage danced in fleeting arabesque. The eddies laughed and brightened with essential colour. And the beauty of the dell began to rankle in the Prince's mind; it was so near to his own borders, yet without. He had never had much of the joy of possessorship in any of the thousand and one beautiful and curious things that were his; and now he was conscious of envy for what was another's. It was, indeed, a smiling, dilettante sort of envy; but yet there it was: the passion of Ahab for the vineyard, done in little; and he was relieved when Mr. Killian appeared upon the scene.

"I hope, sir, that you have slept well under my plain roof," said the old farmer.

"I am admiring this sweet spot that you are privileged to dwell in," replied Otto, evading the inquiry.

This seventh volume of the Swanston Edition pairs two works that, despite their generic differences, share a fascination with the machinery of power and the comedy of institutional failure. Prince Otto, a romance set in the fictional German state of Grünewald, and The Wrong Box, a farce revolving around a misdirected corpse and a tontine, both derive their energy from characters caught in systems they cannot control. The catalog subjects—historical, psychological, and social fiction—apply unevenly: Prince Otto gestures toward historical romance while undercutting it with ironic asides, and The Wrong Box is more social satire than psychological study. What the excerpts reveal is a writer more interested in the absurdities of governance and inheritance than in interiority or period detail.

The Bibliographical Frame as Narrative Device

The most striking feature of the excerpts is the elaborate bibliographical apparatus that concludes Prince Otto. The “Bibliographical Postscript” pretends to be a scholarly note, citing invented sources such as the memoirs of Herr Greisengesang and a diary by J. Hogg Cotterill. This frame allows Stevenson to comment on his own fiction: he mentions that Sir John’s chapter on Grünewald was “torn by the hand of the author in the palace gardens” yet preserved in this volume. The postscript also reports that Prince Otto and Princess Seraphina later published joint poetry under the names “Frédéric et Amélie,” a volume Stevenson calls “very dreary.” This self-conscious play with authenticity and authorship is a recurring structural tactic, not a mere appendix.

The Uneven Fit of Catalog Subjects

The catalog labels this volume “Historical, Psychological & Social Fiction,” but the excerpts resist easy classification. Prince Otto is set in a fictional principality and includes a “Traveller’s Manuscript” that purports to describe the court, yet the tone is consistently ironic rather than historically grounded. The psychological dimension is thin: characters like Gondremark and Von Rosen are defined by their roles in a political farce, not by interior conflict. The Wrong Box, with its chapters on magistrates, luggage vans, and legal advice, is more social comedy than psychological study. The catalog’s emphasis on “English literature — 19th century” is accurate but generic; the works themselves are more concerned with the mechanics of plot and the absurdity of institutions than with representing society or individual minds.

Recurring Motifs: Discretion, Marriage, and the Lecture

Several chapter titles in Prince Otto feature the word “lecture”: the Prince delivers “a Lecture on Discretion in Love,” “a Lecture on Marriage, with Practical Illustrations of Divorce,” and “dissolves the Council.” These lectures are not pedagogical set-pieces but performative acts that reveal the gap between rhetoric and reality. The motif of discretion—of knowing when to speak or remain silent—runs through the excerpts, from the Prince’s advice to “age and beauty” to the postscript’s coy references to unpublished chapters. In The Wrong Box, the motif shifts to miscommunication and mistaken identity, as characters take legal advice, lecture at large, and fail to grasp the situation. The repeated use of “lecture” as a chapter heading signals Stevenson’s interest in the comic failure of authoritative speech.

Readers approaching this volume should attend to the framing devices—the bibliographical postscript, the invented sources, the self-deprecating asides—as much as to the plots themselves. Stevenson is not simply telling stories about princes and inheritance schemes; he is testing the conventions of romance and farce against the reader’s expectation of coherence. The catalog subjects provide a starting point, but the works themselves are more slippery, more playful, and more aware of their own artifice than any single label can capture.

Stevenson’s paired tales always felt like two old friends bickering fondly about the law’s silly games. There is a similar warmth in how the political novel weighs such follies, treating power like a creaking stage rather than a solemn altar. Perhaps all good books simply watch the world’s paperwork and smile. The political novel — Text and Context keeps that quiet company well.

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