THE PERSONS of THE TALE
by Robert Louis Stevenson · from Fables
Adapted Version
Smollett and Silver are book friends. They are not in their book right now. They sit in a quiet place. They talk to each other. The sun is warm. A bird sings nearby. They like to talk here.
Captain Smollett speaks. "You are bad, Long John Silver." Silver smiles. "No, Captain," he says. "It is just my part. I play a bad man." It is fun.
Silver asks, "Who writes our book?" He thinks. "The writer makes all people. He makes good people. He makes bad people too." He makes our world.
Silver says, "The writer likes me best." "I am a big part." "I am fun for him to write." I make things happen. I am very clever.
Captain Smollett nods. "The writer is good. He wants good things." "I try to be good too." "I always do my duty." I follow all rules. I keep things safe.
They talk about a new book. Captain Smollett asks, "Will we be the same?" Silver asks, "Why are we here?" "What is our job?" Will we have new adventures? Will we meet new friends?
Captain Smollett says, "I trust the writer." "He wants good things for us." "I do not know everything." "But I trust him always." He is very wise. He knows what is best.
Silver laughs. "What is good?" he asks. "What is bad in a book?" "You are not perfect, Captain." You make mistakes too. No one is truly perfect.
Captain Smollett says, "Good people make a story good." "They help the story grow." Silver replies, "Bad people make a story start." "They are important too, Captain." They make things exciting. They give the story fire.
Captain Smollett warns, "The writer is on the good side." "He will watch you." "You will have trouble, Silver." He sees all your tricks. He knows your bad plans.
They see an ink bottle open. It makes a small sound. The writer is ready to write again. The pen is ready. Their time is up.
Captain Smollett smiles. "I like my part," he says. He looks at Silver. "I do not like your part." "It is not good." Their talk is done. The book waits for them. They go back into their book.
Original Story
I.—THE PERSONS OF THE TALE.
After the 32nd chapter of Treasure Island, two of the puppets strolled out to have a pipe before business should begin again, and met in an open place not far from the story.
“Good-morning, Cap’n,” said the first, with a man-o’-war salute, and a beaming countenance.
“Ah, Silver!” grunted the other. “You’re in a bad way, Silver.”
“Now, Cap’n Smollett,” remonstrated Silver, “dooty is dooty, as I knows, and none better; but we’re off dooty now; and I can’t see no call to keep up the morality business.”
“You’re a damned rogue, my man,” said the Captain.
“Come, come, Cap’n, be just,” returned the other. “There’s no call to be angry with me in earnest. I’m on’y a chara’ter in a sea story. I don’t really exist.”
“Well, I don’t really exist either,” says the Captain, “which seems to meet that.”
“I wouldn’t set no limits to what a virtuous chara’ter might consider argument,” responded Silver. “But I’m the villain of this tale, I am; and speaking as one sea-faring man to another, what I want to know is, what’s the odds?”
“Were you never taught your catechism?” said the Captain. “Don’t you know there’s such a thing as an Author?”
“Such a thing as a Author?” returned John, derisively. “And who better’n me? And the p’int is, if the Author made you, he made Long John, and he made Hands, and Pew, and George Merry—not that George is up to much, for he’s little more’n a name; and he made Flint, what there is of him; and he made this here mutiny, you keep such a work about; and he had Tom Redruth shot; and—well, if that’s a Author, give me Pew!”
“Don’t you believe in a future state?” said Smollett. “Do you think there’s nothing but the present story-paper?”
“I don’t rightly know for that,” said Silver; “and I don’t see what it’s got to do with it, anyway. What I know is this: if there is sich a thing as a Author, I’m his favourite chara’ter. He does me fathoms better’n he does you—fathoms, he does. And he likes doing me. He keeps me on deck mostly all the time, crutch and all; and he leaves you measling in the hold, where nobody can’t see you, nor wants to, and you may lay to that! If there is a Author, by thunder, but he’s on my side, and you may lay to it!”
“I see he’s giving you a long rope,” said the Captain. “But that can’t change a man’s convictions. I know the Author respects me; I feel it in my bones; when you and I had that talk at the blockhouse door, who do you think he was for, my man?”
“And don’t he respect me?” cried Silver. “Ah, you should ‘a’ heard me putting down my mutiny, George Merry and Morgan and that lot, no longer ago’n last chapter; you’d heard something then! You’d ‘a’ seen what the Author thinks o’ me! But come now, do you consider yourself a virtuous chara’ter clean through?”
“God forbid!” said Captain Smollett, solemnly. “I am a man that tries to do his duty, and makes a mess of it as often as not. I’m not a very popular man at home, Silver, I’m afraid!” and the Captain sighed.
“Ah,” says Silver. “Then how about this sequel of yours? Are you to be Cap’n Smollett just the same as ever, and not very popular at home, says you? And if so, why, it’s Treasure Island over again, by thunder; and I’ll be Long John, and Pew’ll be Pew, and we’ll have another mutiny, as like as not. Or are you to be somebody else? And if so, why, what the better are you? and what the worse am I?”
“Why, look here, my man,” returned the Captain, “I can’t understand how this story comes about at all, can I? I can’t see how you and I, who don’t exist, should get to speaking here, and smoke our pipes for all the world like reality? Very well, then, who am I to pipe up with my opinions? I know the Author’s on the side of good; he tells me so, it runs out of his pen as he writes. Well, that’s all I need to know; I’ll take my chance upon the rest.”
“It’s a fact he seemed to be against George Merry,” Silver admitted, musingly. “But George is little more’n a name at the best of it,” he added, brightening. “And to get into soundings for once. What is this good? I made a mutiny, and I been a gentleman o’ fortune; well, but by all stories, you ain’t no such saint. I’m a man that keeps company very easy; even by your own account, you ain’t, and to my certain knowledge you’re a devil to haze. Which is which? Which is good, and which bad? Ah, you tell me that! Here we are in stays, and you may lay to it!”
“We’re none of us perfect,” replied the Captain. “That’s a fact of religion, my man. All I can say is, I try to do my duty; and if you try to do yours, I can’t compliment you on your success.”
“And so you was the judge, was you?” said Silver, derisively.
“I would be both judge and hangman for you, my man, and never turn a hair,” returned the Captain. “But I get beyond that: it mayn’t be sound theology, but it’s common sense, that what is good is useful too—or there and thereabout, for I don’t set up to be a thinker. Now, where would a story go to if there were no virtuous characters?”
“If you go to that,” replied Silver, “where would a story begin, if there wasn’t no villains?”
“Well, that’s pretty much my thought,” said Captain Smollett. “The Author has to get a story; that’s what he wants; and to get a story, and to have a man like the doctor (say) given a proper chance, he has to put in men like you and Hands. But he’s on the right side; and you mind your eye! You’re not through this story yet; there’s trouble coming for you.”
“What’ll you bet?” asked John.
“Much I care if there ain’t,” returned the Captain. “I’m glad enough to be Alexander Smollett, bad as he is; and I thank my stars upon my knees that I’m not Silver. But there’s the ink-bottle opening. To quarters!”
And indeed the Author was just then beginning to write the words:
Chapter XXXIII.
Story DNA
Plot Summary
After chapter 32 of 'Treasure Island', Captain Smollett and Long John Silver step out of their story to smoke and engage in a philosophical debate. Silver argues that his villainy is merely a character trait, questioning the existence and morality of their 'Author' while claiming to be the Author's favorite. Smollett, a 'virtuous' character, defends the Author's good intentions and the necessity of both good and evil in a narrative. Their discussion is cut short as they perceive the Author preparing to write again, forcing them back into their fictional roles, with Smollett expressing gratitude for his own identity despite its flaws.
Themes
Emotional Arc
curiosity to philosophical debate
Writing Style
Narrative Elements
Cultural Context
This short piece is a meta-fictional commentary by Robert Louis Stevenson on his own work, 'Treasure Island', exploring the relationship between author and character, and the nature of fictional existence.
Plot Beats (12)
- Captain Smollett and Long John Silver, characters from 'Treasure Island', meet outside their story for a pipe.
- Smollett criticizes Silver's villainous nature, but Silver dismisses it as merely being a character.
- Silver questions the concept of an 'Author' and argues that if an Author exists, they created both good and evil characters.
- Silver asserts that he is the Author's favorite character, given his prominent role and the Author's apparent enjoyment in writing him.
- Smollett believes the Author is on the side of good and respects him, despite his own imperfections.
- They discuss the possibility of a sequel and whether their roles would remain the same, questioning the purpose of their existence.
- Smollett states he trusts the Author's intent for good, even if he doesn't fully understand their existence.
- Silver challenges Smollett on what constitutes 'good' and 'bad' within the narrative, pointing out Smollett's own flaws.
- Smollett argues that virtuous characters are necessary for a story, while Silver counters that villains are equally essential for a story to begin.
- Smollett warns Silver that the Author is on the 'right side' and that trouble awaits him.
- The characters notice the ink-bottle opening, signaling the Author's return to writing.
- Smollett expresses contentment with his role and disdain for Silver's, as they prepare to resume their story.
Characters
Long John Silver ★ protagonist
A burly, broad-shouldered man of medium height, with a powerful build despite missing a leg. His remaining leg is strong and muscular, supporting his weight with a crutch. His skin is weathered and tanned from years at sea, with a ruddy complexion. He has a generally jovial but cunning expression.
Attire: A practical, well-worn seaman's outfit from the late 18th century. This includes a dark blue or grey wool pea coat, a striped linen shirt, dark breeches, and a sturdy leather belt. He wears a single gold earring in one ear.
Wants: To survive, to thrive, and to be recognized as a significant and favored character by the Author. He seeks personal gain and influence.
Flaw: His self-interest and moral ambiguity, which make him untrustworthy and ultimately limit his potential for true heroism.
In this meta-narrative, he asserts his importance and agency as a character, challenging the traditional notions of good and evil within a story. He remains true to his villainous nature but gains a deeper, self-aware understanding of his role.
Cunning, charismatic, self-serving, philosophical, and surprisingly articulate. He is a master manipulator but also possesses a certain roguish charm.
Image Prompt & Upload
A burly, broad-shouldered man of medium height, facing forward, full body visible from head to toe. He has a weathered, tanned, ruddy complexion, a round face with shrewd blue eyes, a broad nose, and a knowing smirk. His dark brown hair is tied in a thick queue. He wears a dark blue wool pea coat, a striped linen shirt, dark breeches, and a sturdy leather belt. A single gold hoop earring is in his left ear. He stands on one leg, leaning on a well-worn wooden crutch held in his right hand. A small green parrot is perched on his left shoulder. He has a cunning, confident expression. Plain white background, full body visible head to toe, single figure, no watermark, no text, no signature.
Captain Alexander Smollett ◆ supporting
A tall, lean man with a stern, authoritative bearing. His body is wiry and strong, accustomed to the rigors of naval life. His skin is fair but tanned, showing the effects of sea air, with a somewhat serious and often exasperated expression.
Attire: A formal and immaculate Royal Navy uniform from the late 18th century. This includes a dark blue wool naval coat with brass buttons and gold braid on the cuffs, a crisp white linen shirt, a white cravat, white breeches, and polished black leather boots.
Wants: To uphold order, duty, and moral principles, both within the story and in his understanding of the Author's intentions. He wants to be a 'virtuous character' and fulfill his role correctly.
Flaw: His rigidity and inability to compromise, which can make him unpopular and sometimes ineffective in dealing with more morally flexible characters like Silver.
He grapples with the meta-narrative of being a character, reaffirming his commitment to his role as a 'good' character, even if it means a less exciting or popular fate. He remains steadfast in his convictions.
Duty-bound, righteous, honorable, somewhat rigid, and prone to exasperation. He is a man of strong convictions, even if he admits to making mistakes.
Image Prompt & Upload
A tall, lean man with a stern, authoritative bearing, facing forward, full body visible from head to toe. He has a fair, tanned complexion, a long angular face with sharp grey eyes, an aquiline nose, and a firm mouth. His dark brown hair is short and neatly combed. He wears an immaculate dark blue wool naval coat with brass buttons and gold braid, a crisp white linen shirt, a white cravat, white breeches, and polished black leather boots. He holds a long-stemmed clay pipe in his right hand. He has a serious, duty-bound expression. Plain white background, full body visible head to toe, single figure, no watermark, no text, no signature.
Locations
An Open Place Not Far From the Story
An undefined, liminal space existing outside the main narrative of Treasure Island, where characters can step out of their roles. It is described as 'an open place' suggesting a lack of specific features, a blank canvas between chapters.
Mood: Surreal, meta-fictional, contemplative, a brief respite from the narrative's demands
Captain Smollett and Long John Silver meet to discuss their roles, the Author, and the nature of their existence as fictional characters.
Image Prompt & Upload
A vast, empty, featureless expanse of pale, slightly textured ground stretching to a hazy horizon under a soft, diffused morning light. The sky is a uniform, light grey-blue, with no clouds or sun visible, creating an ethereal, non-specific atmosphere. There are no objects, structures, or vegetation, emphasizing the liminality of the space. no border, no frame, no watermark, no text, no signature, edge-to-edge illustration.
The Ink-Bottle Opening
A metaphorical gateway back into the narrative, represented by the opening of an ink-bottle, signaling the Author's return to writing and the characters' need to resume their roles.
Mood: Urgent, impending, a sudden shift from meta-discussion back to narrative action
The signal that the Author is resuming writing, forcing the characters back into their story and roles.
Image Prompt & Upload
A close-up, low-angle perspective looking up towards the dark, circular opening of a traditional glass ink-bottle, with a hint of deep black liquid visible inside. A faint, ethereal glow emanates from the opening, suggesting a portal. The background is blurred and indistinct, hinting at the vast, unseen realm of the story. no border, no frame, no watermark, no text, no signature, edge-to-edge illustration.
