Racialism--a doctrine or teaching, without
scientific support, that claims to find racial differences in character,
intelligence, etc., that asserts the superiority of one race over another or
others. Throughout time, conflicts between
contrasting races and cultures have been apparent. From the racial tension between blacks and
whites to the persecution of the Jewish by the Nazis, one common ideal has been
sought after over and over from the beginning to the end of time. This goal can be summed up into one phrase,
"Why can't we all just get
along?"
In much of literature, many authors have addressed this issue of
racialism, and with persistence and much sweat, it has been realized that these
practices of racism are morally incorrect, and that the mentality of the public
must be subjugated to reprogramming.
Robert Louis Stevenson is one of these authors who revealed to the
public its moral and cultural disrespect towards other human beings that are
equal and parallel in all ways except beliefs.
In doing so, he created the novel Kidnapped. In the novel Kidnapped, Stevenson carefully
molds his theme of duality and character's personal and cultural conflicts to
narrate a story about a kidnapped boy, named David, who, through his growing
cultural tolerance and open-mindedness, matures from a naive adolescent to a
young man capable of dealing with crisis and accepting his role in the
culturally divided world.
Despite
extensive cultural differences, the Highlanders and Lowlanders represent two
halves of a society that must intermingle in order to reach their summit of
individual and group possibilities. These two definitive cultures of
Highlanders and Lowlanders are represented respectively by Alan and David. In the story, David is frequently portrayed
as one who dislike Highlanders, and his adventures show why. His first guide tries to cheat him, with the
belief that all Lowlanders are easy targets.
The second guide believing too, that Lowlanders are easy targets,
questioned David extensively with "Where I came from, whether I was rich,
whether I could change a five shilling piece" (Stevenson 102-103). Perhaps the worst fault shown by Stevenson in
the Highlanders is the treachery and murderousness in much that they do.
Despite
David's personal conflicts between the two cultures, much of his own attitudes
change. For through these cultural
conflicts, he learns not to be judgmental and realizes the virtues of the
corresponding faults that the Highlanders possess, thus paving the way to an
everlasting friendship. David realizes
that although they tried to cheat him as a stranger, they help him
unhesitatingly, refusing to take any money at all, once he is under Alan's
protection. Their treachery is also an
intrepid resistance to superior force.
However, all in all, David and Alan, representatives of two enemy
powers, come to respect and even love each other like two brothers. Many critics have even commented on this
friendship, and at least one critic has compared Kidnapped with Mark Twain's
Huckleberry Finn (Saposnik 114).
The contrast between David, a Lowlander
and a Whig, and Alan, a
Highlander and a Jacobite, for example, is well drawn. Ignoring
their differences, the two, like Huck and
Jim in Mark Twain's The Adventures of Huckleberry Finn (1884), prove that their friendship is more important
than geographical and political differences. (Eckley
3194)
Another theme of the story is the idea of
duality, and through this use of duality, Stevenson has left a sense of
vagueness about a true villain. For
example, Mr. Shuan had two moods, one being kindly, meaning he was sober--or
violent, meaning he was drunk. The
latter mood was the cause of death of the cabin-boy, Ransome. So wholly different were Mr. Shuan's two
moods that he was completely unaware of his actions. Captain Hoseason, another example of this
contradiction, is shown to be a slavedriver and a murderer. However, Stevenson
tells us also that he is genuinely religious and kind to his mother. This duality of Captain Hoseason's moral
nature is so well defined that even several critics have noted about it
"Captain Hoseason has his challenging moral ambiguities" (Daiches
433);"In Captain Hoseason . . . we have a character ready to play two
role, shedding one and assuming that other as the situation requires"
(Kiely 437). Stevenson through the use
of this duality has left a "Weakness of the villain--or, more accurately,
would-be villain" (437). Another
critic even states that "Good and evil is more subtly defined, more
ambiguous" (Fiedler 435). With
this lack of a true definite villain, one may be able to consider that perhaps
the real villain is not a person, but a thought or an idea, and that idea or
thought being the malignant evil named racism.
Throughout the book David's growing cultural
tolerance and open-mindedness has come to mark his coming-of-age, appropriately
noted in the end by the recovery of his estate.
This book can be marked as a milestone in literature, for Stevenson,
after his realization of the malignant disease called racialism. He used his pen to conjure a compromise
between two feuding cultures and brought together two sides of the same
culturally diverse coin rendered by the friendship of Alan Breck and David
Balfour. Only until more writers
continually create new novels showing racialism as the corrupt disease that it
is and reveal that racialism is morally and ethically wrong. Only then will our society be on the way to a
cure of the curse that has plagued us since the tower of Babel.
No comments:
Post a Comment