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When serialised for "Young Folks" magazine in 17 weekly instalments in 1883, the title was "The Black Arrow: A Tale Of Tunstall Forest" but this was changed when it was edited into book form ( five or six years later) to "The Black Arrow: A Tale Of The Two Roses" ~ Robert Lewis Stevenson ... Read review
Advantages: You may gain insight into a turbulent time in English History - the War of the Roses (white and red) Disadvantages: It is not always easy to unravel who is on which side at which time; sentences can be long and complicated.
...it, just a bit, for the poor unsuspecting reader intent on a quick action thriller to while away an hour or two at a time.
Robert Lewis Stevenson, like Charles Dickens, initially wrote many of his stories for weekly consumption as a serial (money was the driving force behind such). Perhaps the modern day equivalent would be weekly episodes of television programmes ~ but the book (or the weekly magazine) has the advantage of being subject ... ...a time of the reader's own choosing ~ and not pushed at you by a producer's prime-time scheduling ~ competing with dinner, homework and family time.
When serialised for "Young Folks" magazine in 17 weekly instalments in 1883, the title was "The Black Arrow: A Tale Of Tunstall Forest" but this was changed when it was edited into book form ( five or six years later) to "The Black Arrow: A Tale Of The ... more
I have always delighted in some authors' ability to take a period in history and illuminate it, just a bit, for the poor unsuspecting reader intent on a quick action thriller to while away an hour or two at a time.
Robert Lewis Stevenson, like Charles Dickens, initially wrote many of his stories for weekly consumption as a serial (money was the driving force behind such). Perhaps the modern day equivalent would be weekly episodes of television programmes ~ but the book (or the weekly magazine) has the advantage of being subject to the reader, to be read at his leisure, at a time of the reader's own choosing ~ and not pushed at you by a producer's prime-time scheduling ~ competing with dinner, homework and family time.
When serialised for "Young Folks" magazine in 17 weekly instalments in 1883, the title was "The Black Arrow: A Tale Of Tunstall Forest" but this was changed when it was edited into book form ( five or six years later) to "The Black Arrow: A Tale Of The Two Roses" ~ Robert Lewis Stevenson himself considered the book as "Tushery" ~ written quickly to satisfy publishers and keep his readers happy without his usual extensive research and verification. It had a most attentive audience among young lads, who possibly identified with the seventeen year old hero, Richard Shelton, as he learnt valor and chivalry. (See extracts from the letters of RLS below).
Each of the 33 chapters ends on a high note of suspense ~ making the reader anxiously wait for the next edition ~ to see what will happen next . . .
The Book (and Chapter) Headings hint at the contents:
Prologue ~ John Amend-All Book I ~ The Two Lads (7 chapters) Book II ~ The Moat House (5 chapters) Book III ~ My Lord Foxham (6 chapters) Book IV ~ The Disguise (6 chapters) Book V ~ Crookback (8 chapters) ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~ A TALE OF THE TWO ROSES ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
The Wars of the Roses (York's Red Rose and Lancaster's White Rose) were an uncertain time for the English countryside and ordinary peasants and yeomanry. Certain of the Lords of the manor and those attached to them were wont to wait and see which way the battles were faring ~ then jump to follow the winners ~ seeking their own gain rather than that of the waring houses of Lancaster and York. This often led to great injustice, as first one, then the other, demanded rents and tribute and manpower from the people whose land the armies marched through. Sir Daniel, young Richard Shelton's guardian, was one such who changed sides when it suited him.
I expect, like so many classics I read as a child, I first read an abridged version of this book ~ I have colourful illustrations in my mind already as I re-read this, and wonder how many illustrations I saw and how many were created by my imagination as I first read it.
One of the strongest images in my mind is that of the blind leper tapping and ringing his bell as he stalks the young Richard Shelton and John Matcham in the woodland as they are fleeing to the safety of Holywood. There are echoes of the "Robin Hood" story in the outlaws seeking to find justice by the cross-bow with their trademark "black-shafted" arrows which give this book its title. Surely there were many such displaced persons in England's history!
There is humour, and irony, in this book.
Above all, it illustrates humanity and humanity's struggles to do what is right and to show loyalty where loyalty is required. Respect must be gained, and earned, to be kept in troubled times.
A quote from Book V (Chapter V) illustrates the lessons Richard Shelton learnt as he began to grow up:
"The words died in Richard's throat. He saw, through tears, the poor old man, bemused with liquor and sorrow, go shambling away, with bowed head,across the snow, and the unnoticed dog whimpering at his heels, and for the first time began to understand the desperate game that we play in life; and how a thing once done is not to be changed or remedied, by any penitence."
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~ Geographical and Historical Background Notes ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Robert Lewis Stevenson set his story in southeast England (in Suffolk). The similarity to districts which lie around the present day city of Tunstall is unmistakable: describing the lay of the land, you can see Kettley in modern day Kettleburgh, and Foxham in Farnham; could Shoreby be Orford? And what about Risingham and Holywood? Could they be Framlington and Leiston? He was well acquainted with this part of England, and it shows.
He attempted, as in his Scottish Novels, to 'mimic' the dialogue of the time and place ~ not writing, as he was, in nineteenth century idiom ~ but attempting the turns of phrase of the fifteenth century Suffolk, and jests which would have been relevant to their more recent history: thus, Alicia's reference to the "Lion driver" could well have referred back to Richard Lionheart.
Written in 1883 for serial consumption, this was gathered together and finally published by Robert Lewis Stevenson in book form in 1889 with a dedication to his "Critic on the hearth" (dated 1888). It gives the Tudor (Lancaster) slant to the picture it gives of Richard of York (made Duke of Gloucester, and later to become Richard III) ~ as an ill-favoured and capricious leader, who could be violent and generous in turn.
[NOTE: This actually is not quite borne out in the historical record, as Richard was a reasonable and well respected lawgiver, instituting many reforms, before he finally fell on the field of battle to Henry Tudor (of the Lancasterians). Nor did he actually have a crooked back. However, it was the commonly perceived Shakespearian approach to Richard III, and the myths were here perpetuated.]
There are also historical notes which R. L. S. added to the end of the book version (I read an e-book copy online ~see details below~ yesterday to refresh my memory) that Richard would not have been old enough, nor would he have been yet designated "Duke of Gloucester" at the time of which this book is set (about 1455 AD) ~ but the inclusion of him as such certainly makes this a "ripping" tale!
The story has been translated into many different languages and appeals to action-lovers of many ages.
Available for free download through the gutenberg project (designed to give access to books in "Public Domain" ~ out of copyright); and for reading online on various websites. The book has been reprinted many times, in various editions and levels of difficulties.
Shop.com was offering a paperback edition for £13.45
Various editions are often available on eBay and Amazon marketplace from 50p plus P&P.
The complete works of Robert Lewis Stevenson are available online in the Classic Literature Library (www.classic-literature.co.uk), and include two journals full of letters by RLS, collected together and roughly classified as to where he was, with dates. He was an invalid (probably through TB) and so had much time on his hands to read and write. He writes volumes of information about his current projects and gives extracts, discussing many of his books as he puts them together with enthusiasm ~ As I knew the book had been published in 1889, but written "some time ago" according to the preface, I read through the journals to see how THIS book had developed.
There was comparatively nothing. Five references in passing. No outline and plot in advance.
In May 1883 there is the first mention in a letter to his friend W. E. Henley: " . . . THE influenza has busted me a good deal; I have no spring and am headachy. So, as my good Red Lion Counter begged me for another Butcher's Boy - I turned me to - what thinkest 'ou? - to Tushery, by the mass! Ay friend, a whole tale of tushery. And every tusher tushes me so free, that may I be tushed if the whole thing is worth a tush. THE BLACK ARROW: A TALE OF TUNSTALL FOREST is his name: tush! a poor thing!"
October 1883 to Sidney Colvin: "Your remarks on the BLACK ARROW are to the point. I am pleased you liked Crookback; he is a fellow whose hellish energy has always fired my attention. I wish Shakespeare had written the play after he had learned some of the rudiments of literature and art rather than before. Some day, I will re-tickle the Sable Missile, and shoot it, MOYENNANT FINANCES, once more into the air. I can lighten it of much, and devote some more attention to Dick o' Gloucester. It's great sport to write tushery."
He didn't mention it again until he received a request (after publication) from Marcel Schwob for permission to translate it into French (August 19th, 1890): " . . . You wish to translate the BLACK ARROW: dear sir, you are hereby authorised; but I warn you, I do not like the work. Ah, if you, who know so well both tongues . . . would but take a fancy to translate a book of mine that I myself admired - for we sometimes admire our own - or I do - with what satisfaction would the authority be granted! But these things are too much to expect . . . . I had indeed one moment of pride about my poor BLACK ARROW: Dickon Crookback I did, and I do, think is a spirited and possible figure. Shakespeare's . . . is spirited - one likes to see the untaught athelete butting against the adamantine ramparts of human nature . . . it reminds us how trivial we are today, and what safety resides in our triviality . . ."
On 1st January 1894, he wrote a letter to Charles Baxter concerning a proposed edition of his works (in 14 volumes) with new prefaces compiled of discussions of his works: he simply mentions that he doesn't want to discuss BLACK ARROW.
March 27th, 1894 he writes to William Archer, decrying his 'esteemed correspondant' ~ William's son "Tomarcher" for his "poor taste in literature." He continues: "It is an odd fact, or perhaps a very natural one; I find few greater pleasures than reading my own works, but I never, O I never read THE BLACK ARROW. In that country Tomarcher reigns supreme. Well, and after all, if Tomarcher likes it, it has not been written in vain."
As this is one of a very few of his books still in print, and more popular in many countries than the more favoured volumes, I am amazed that it was so disdained by the author himself.
Perhaps it was the historical inaccuracies which made him dislike the story so much ~ once in print, it was impossible to correct without spoiling the story!
Whatever his reasons, I enjoyed this "tushery" far better than Treasure Island, Kidnapped, Catriona, The Master of Ballantrae and other more weighty volumes he produced.
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