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The Black Arrow
From the beloved author of Treasure Island
Originally serialized in a periodical of boys' adventure fiction, The Black Arrow is a swashbuckling portrait of a young man's journey to discover the heroism within himself. Young Dick Shelton, caught in the midst of England's War of the Roses, finds his loyalties torn between the guardian who will ultimately betray him and the leader of a secret fellowship, The Black Arrow. As Shelton is drawn deeper into this conspiracy, he must distinguish friend from foe and confront war, shipwreck, revenge, murder, and forbidden love, as England's crown threatens to topple around him.
Originally serialized in a periodical of boys' adventure fiction, The Black Arrow is a swashbuckling portrait of a young man's journey to discover the heroism within himself. Young Dick Shelton, caught in the midst of England's War of the Roses, finds his loyalties torn between the guardian who will ultimately betray him and the leader of a secret fellowship, The Black Arrow. As Shelton is drawn deeper into this conspiracy, he must distinguish friend from foe and confront war, shipwreck, revenge, murder, and forbidden love, as England's crown threatens to topple around him.
242 pages, Paperback
First published January 1, 1883
About the author
Robert Louis Stevenson
6,074 books6,225 followersRobert Louis Balfour Stevenson was a Scottish novelist, poet, and travel writer, and a leading representative of English literature. He was greatly admired by many authors, including Jorge Luis Borges, Ernest Hemingway, Rudyard Kipling and Vladimir Nabokov.
Most modernist writers dismissed him, however, because he was popular and did not write within their narrow definition of literature. It is only recently that critics have begun to look beyond Stevenson's popularity and allow him a place in the Western canon.
Most modernist writers dismissed him, however, because he was popular and did not write within their narrow definition of literature. It is only recently that critics have begun to look beyond Stevenson's popularity and allow him a place in the Western canon.
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September 1, 2020Enjoyable historical fiction set during the Wars of the Roses featuring a merely moderately disfigured Richard of Gloucester (that is, Richard III before he became infamous), ship stealing (and crashing thereof) assaults on fortified houses, minor battles, a sinister leper, sinister wall hangings and a sinister stolen inheritance.
Ideal for impressionable children if you want to leave them with a life long suspicion of wall hangings.
Ideal for impressionable children if you want to leave them with a life long suspicion of wall hangings.
April 10, 2016
This was a reread for me, but my previous experience of the book was back in junior high school. (A lot of it I consciously remembered; much of it I recalled once reminded, and some of it was like a new book to me.) I'd wanted for some time to reread it, both so as to write a better-informed review and to see if my youthful liking for it held up under the scrutiny of an adult perspective and more experienced taste. Obviously, it did! Some might say I'm too prodigal with five-star ratings; but based on my sincere enjoyment of it, I couldn't give it less.
The Goodreads description is somewhat sensationalized; but the plot does indeed involve war, murder (past and present), revenge, shipwreck, and love which, if not exactly "forbidden," certainly has a lot of obstacles. It also involves derring-do, disguise and concealed identity, outlaws, secret passages and peepholes, elements of mystery, treachery and mortal danger. The whole mix is written in good Romantic style, with its frank appeal to emotional engagement from the reader. Since this is the kind of thing I can eat up with a spoon, its appeal to me isn't hard to understand. But the adventure and romance elements aren't all it offers; there's genuine moral and psychological growth on the part of the main character.
Stevenson's gift for adroit, lifelike characterizations is very much on display here. All of the major and many of the secondary characters are sketched with wonderful vividness and depth; and regardless of which side they're on, or whether they're "good" or "bad," they're genuinely nuanced. His portrayal of the two main female characters has won praise (which I agree with) even from one of the more negative reviewers of the book; and I'd say that the male characters are no less round and three-dimensional. I've been a Stevenson fan from childhood, and have read all four of his major novels (and a number of his short stories). Of the three major adventure novels, I like this one the best, though that's not a majority position. Many modern readers are stymied by his (approximate) reproduction of 15th-century dialogue; but for me, this was actually easier to understand than the Scots dialect of Kidnapped and the nautical terminology of Treasure Island. And though I'm not usually a fan of the "romance" (in the Harlequin sense) genre, I like an element of clean romance in a book, and I appreciate stories that incorporate characters from both genders, unlike the nearly all-male, "no girls allowed!" territory of the other two books.
A valid criticism of the book is the inaccuracy of Stevenson's portrayal of the future Richard III. The date here is May 1460-January 1461 (not stated directly in the text, but inferred from a reference to the death of the Yorkist leader in battle --Richard, Duke of York was killed in the battle of Wakefield in December, 1460); at that time, the younger Richard was an eight-year-old child. In fairness to Stevenson, he noted the discrepancy himself in a footnote; but if he wanted that character to be 17-18, it might have been better to move the date of the story to 1470-71. More importantly, the very negative portrayal of the latter Richard is taken directly from Shakespeare's Richard III, which itself slavishly follows Sir Thomas More's Tudor-inspired hatchet job on Richard from earlier in the 16th century. In fact, though, while nobody would argue that Richard was a saint (neither were any of the other political leaders of that day) the weight of historical evidence is that he was far less malevolent than More and Shakespeare depicted him. And much of this evidence would already have been available to Stevenson (for instance, in Horace Walpole's Historic Doubts on the Life and Reign of King Richard the Third).
Other criticisms, IMO, are less justified. Comparisons between Ellis Duckworth and Robin Hood are inevitable for modern readers, since both are leaders of outlaw bands, living in the woods, using arrows, and at odds with the nasty and powerful local establishment. But while modern pop culture clearly ascribes exclusive title to that territory to Robin Hood, 19th-century British writers and readers were aware that outlawry was a persistent feature of the English scene for centuries after Robin Hood; far from being anachronistic, the social conditions of the Wars of the Roses, with their displacement of the poor and opportunities for legalized plunder by the powerful, were well calculated to mass produce bands of angry and vengeful outlaws with plenty of grievances. (And in the 1400s, arrows are still their projectile weapons of choice, and the forest their natural refuge.) Related to this, no one can deny the influence of Sir Walter Scott on every Romantic historical novelist who followed him, Stevenson included. But that's not the same thing as proving that this novel is a direct knock-off of Ivanhoe. On the contrary, the differences between the two novels are much more significant than the similarities. Finally, Stevenson has been faulted for celebrating ideals of chivalry that are scorned today, and weren't really much followed in the Middle Ages either. The latter reality , of course, is clearly recognized in the book; the villains here are anything but honorable and chivalrous, and things like the summary hanging of prisoners and the sack of Shoreby are realistic for the time, but far from chivalrous. But even if they weren't widely practiced, concepts like keeping one's word even when it would be convenient not to, treating even one's enemies with fairness and respect, and showing mercy and protection to noncombatants actually were held up as social ideals in the 1400s (and for centuries after), and actually were practiced by some individuals. (Other words for "chivalry," in this sense, would be "honor" and "personal integrity.") In choosing to celebrate and encourage these ideals, I would submit that Stevenson has the right of it.
This novel was originally serialized in a "story paper" marketed to teenage boys; our hero and heroine here are 17 and 16 years old when we meet them, and the book can be found in the YA or children's sections in some libraries. (I discovered it in my school library.) But teens in the Middle Ages grew up fast; Dick and Joanna think more like, and are treated more like, adults than like today's adolescents. YA readers who can handle late Victorian diction and aren't daunted by medieval dialogue could enjoy this, I think, and identify with the characters. But I personally would characterize this more as an adult novel that happens to have teen protagonists, and that teen readers could enjoy, rather than as a YA novel that some adults could enjoy. (I don't know if that distinction is clear, or helpful to anybody; but I make it for whatever it's worth. :-) )
The Goodreads description is somewhat sensationalized; but the plot does indeed involve war, murder (past and present), revenge, shipwreck, and love which, if not exactly "forbidden," certainly has a lot of obstacles. It also involves derring-do, disguise and concealed identity, outlaws, secret passages and peepholes, elements of mystery, treachery and mortal danger. The whole mix is written in good Romantic style, with its frank appeal to emotional engagement from the reader. Since this is the kind of thing I can eat up with a spoon, its appeal to me isn't hard to understand. But the adventure and romance elements aren't all it offers; there's genuine moral and psychological growth on the part of the main character.
Stevenson's gift for adroit, lifelike characterizations is very much on display here. All of the major and many of the secondary characters are sketched with wonderful vividness and depth; and regardless of which side they're on, or whether they're "good" or "bad," they're genuinely nuanced. His portrayal of the two main female characters has won praise (which I agree with) even from one of the more negative reviewers of the book; and I'd say that the male characters are no less round and three-dimensional. I've been a Stevenson fan from childhood, and have read all four of his major novels (and a number of his short stories). Of the three major adventure novels, I like this one the best, though that's not a majority position. Many modern readers are stymied by his (approximate) reproduction of 15th-century dialogue; but for me, this was actually easier to understand than the Scots dialect of Kidnapped and the nautical terminology of Treasure Island. And though I'm not usually a fan of the "romance" (in the Harlequin sense) genre, I like an element of clean romance in a book, and I appreciate stories that incorporate characters from both genders, unlike the nearly all-male, "no girls allowed!" territory of the other two books.
A valid criticism of the book is the inaccuracy of Stevenson's portrayal of the future Richard III. The date here is May 1460-January 1461 (not stated directly in the text, but inferred from a reference to the death of the Yorkist leader in battle --Richard, Duke of York was killed in the battle of Wakefield in December, 1460); at that time, the younger Richard was an eight-year-old child. In fairness to Stevenson, he noted the discrepancy himself in a footnote; but if he wanted that character to be 17-18, it might have been better to move the date of the story to 1470-71. More importantly, the very negative portrayal of the latter Richard is taken directly from Shakespeare's Richard III, which itself slavishly follows Sir Thomas More's Tudor-inspired hatchet job on Richard from earlier in the 16th century. In fact, though, while nobody would argue that Richard was a saint (neither were any of the other political leaders of that day) the weight of historical evidence is that he was far less malevolent than More and Shakespeare depicted him. And much of this evidence would already have been available to Stevenson (for instance, in Horace Walpole's Historic Doubts on the Life and Reign of King Richard the Third).
Other criticisms, IMO, are less justified. Comparisons between Ellis Duckworth and Robin Hood are inevitable for modern readers, since both are leaders of outlaw bands, living in the woods, using arrows, and at odds with the nasty and powerful local establishment. But while modern pop culture clearly ascribes exclusive title to that territory to Robin Hood, 19th-century British writers and readers were aware that outlawry was a persistent feature of the English scene for centuries after Robin Hood; far from being anachronistic, the social conditions of the Wars of the Roses, with their displacement of the poor and opportunities for legalized plunder by the powerful, were well calculated to mass produce bands of angry and vengeful outlaws with plenty of grievances. (And in the 1400s, arrows are still their projectile weapons of choice, and the forest their natural refuge.) Related to this, no one can deny the influence of Sir Walter Scott on every Romantic historical novelist who followed him, Stevenson included. But that's not the same thing as proving that this novel is a direct knock-off of Ivanhoe. On the contrary, the differences between the two novels are much more significant than the similarities. Finally, Stevenson has been faulted for celebrating ideals of chivalry that are scorned today, and weren't really much followed in the Middle Ages either. The latter reality , of course, is clearly recognized in the book; the villains here are anything but honorable and chivalrous, and things like the summary hanging of prisoners and the sack of Shoreby are realistic for the time, but far from chivalrous. But even if they weren't widely practiced, concepts like keeping one's word even when it would be convenient not to, treating even one's enemies with fairness and respect, and showing mercy and protection to noncombatants actually were held up as social ideals in the 1400s (and for centuries after), and actually were practiced by some individuals. (Other words for "chivalry," in this sense, would be "honor" and "personal integrity.") In choosing to celebrate and encourage these ideals, I would submit that Stevenson has the right of it.
This novel was originally serialized in a "story paper" marketed to teenage boys; our hero and heroine here are 17 and 16 years old when we meet them, and the book can be found in the YA or children's sections in some libraries. (I discovered it in my school library.) But teens in the Middle Ages grew up fast; Dick and Joanna think more like, and are treated more like, adults than like today's adolescents. YA readers who can handle late Victorian diction and aren't daunted by medieval dialogue could enjoy this, I think, and identify with the characters. But I personally would characterize this more as an adult novel that happens to have teen protagonists, and that teen readers could enjoy, rather than as a YA novel that some adults could enjoy. (I don't know if that distinction is clear, or helpful to anybody; but I make it for whatever it's worth. :-) )
January 8, 2024
The Black Arrow by Robert Louise Stevenson is a historical fiction set in the time of War of the Roses. The book tells the story of a young man named Richard Shelton, who in the quest of obtaining justice for his father's murder and rescuing his love from the grip of a villainous warden, displays loyalty and courage, and becomes an important warrior for the Yorks. For his unwavering valor, he is rewarded with a knighthood.
The story is quite interesting, but what I liked the most, is the history that is set as the backdrop of the story. The historical part was both fascinating and informative. The story was also well written, using language appropriate for the time period coupled with the local dialect. The dramatic quality and fast pace created suspense and set the tone appropriate for the battles. However, I wish Stevenson could have worked on a more personal touch, for so far I have observed, his writing though good, is a little distant and detached. For this reason, the reader is unable to feel as much for the characters as he ought to.
Overall, it was a good work of historical fiction and an engaging read. Since I'm quite a fan of historical fiction, I enjoyed this very much.
The story is quite interesting, but what I liked the most, is the history that is set as the backdrop of the story. The historical part was both fascinating and informative. The story was also well written, using language appropriate for the time period coupled with the local dialect. The dramatic quality and fast pace created suspense and set the tone appropriate for the battles. However, I wish Stevenson could have worked on a more personal touch, for so far I have observed, his writing though good, is a little distant and detached. For this reason, the reader is unable to feel as much for the characters as he ought to.
Overall, it was a good work of historical fiction and an engaging read. Since I'm quite a fan of historical fiction, I enjoyed this very much.
December 21, 2022
Continuing my exploration of Stevenson, this excellent historical fiction novel is set during the War of the Roses and has some strong action fight scenes. However, it was written over 100 years ago as a serial for a publication in 1883. Consequently, the language serves as an impediment to an accurate and full understanding. At times the writing is taut, tense. There are other times that the writing is a slog. Contextually it is written for an extremely different milieu, which may cause younger readers (and some more mature ones too) accustomed to the current standard to be put off by metaphors and colloquialisms for a Scottish audience. Otherwise, the story is about a young man, Dick Shelton, who is torn between the guardian who may have had a hand in killing his father and the Black Arrow (strangely reminiscent of Robin Hood) and his band of outlaws. There is adventure, romance, action, shipwreck, espionage, and betrayal. Some parts were good, but others were not. Still, it fulfills my criteria for the term classic, and I mostly enjoyed the piece.
December 30, 2017
La tortura della freccia
Ricordando lo sceneggiato televisivo con Loretta Goggi di cui attendevo con trepidazione le puntate (credo la domenica sera) e confidando nella garanzia del nome Stevenson, mi sono dedicato con attenzione e con molte attese a questa lettura.
Ma qual sorpresa! Quello che mi era sembrata una trama avventurosa mi è parsa ora una storia poco probabile, scritta in modo non più attuale (quanti giri di parole per non dire nulla!), prevedibile, confusa, poco coinvolgente, con invocazioni a Dio ogni due pagine (che Dio me lo conceda, che Dio dia pace allo spirito suo, che Dio vi aiuti, per grazia di Dio etc), con una tal rassegna di personaggi mal caratterizzati e ingessati nel proprio ruolo che ci vuole un’agenda per ricordarseli.
Il romanzo fu scritto nel 1888 a puntate settimanali (17) e si vede; probabilmente il brodo, cucinato a lungo, è stato allungato un po’ troppo, come spesso avviene in questi casi.
Mi verrebbe da dire un libro per ragazzi, se non fosse che ben pochi ragazzi ora si cimenterebbero nella lettura di un libro del genere che, oggi, risulta essere solo noioso.
"E' una strana freccia, questa — disse il ragazzo, fissando il dardo che aveva in mano. — E' vero, in fede mia! — esclamò Bennet.— Nera, con la punta di piuma nera. E' una freccia di malaugurio per la verità, perché il nero, dicono, porta la sepoltura.”
Si è mai vista una freccia che a quei tempi non portasse alla sepoltura?
Che distanza dal bellissimo L’isola del tesoro!
March 15, 2023
At a first glance, "The Black Arrow" seems like yet another traditional albeit entertaining swashbuckler, one that should end exactly as one would predict it to end - the hero defeating the villain in some protracted duel and thus winning the hand of the lady destined to be his bride all this while. Something, if you can imagine, like Sir Walter's Scott's enjoyable "Ivanhoe": on no account a bad or a boring book by any stretch of imagination. It is just comfortably what we would assume it to be.
And yet, unlike Scott, Robert Louis Stevenson was not interested only in the minutiae of history or political intrigue and was more concerned with human morality and its inevitable complexity. "The Black Arrow" is indeed a rousing swashbuckler with a difference, an adventure story with thrills and spills, with suspense and romance but also, most crucially, a terrific cast of characters, not entirely heroic yet admirable, not wholly heartless yet dangerous. It is a swashbuckler that feels almost real and resonant.
It is also unexpectedly a swashbuckler that has aged most wonderfully and elegantly. Back in the days of boyhood, I would often try and imagine what would be the story for this novel by Stevenson - we had always been able to find in the shelves of the school library pocket-sized adaptations of "Treasure Island" or "Kidnapped" but "The Black Arrow" had always eluded us - and inevitably, the story that would flash in my mind would be that of gallant archers, young and chivalrous heroes, damsels in distress imprisoned in English castles and even charismatic villains to contend with. And truly, the novel not only lives up to a boy's vivid fantasies but also holds up as a splendid adventure novel for fully matured readers (I myself read it at the age of thirty) with a surprising level of profound resonance.
Many a summary describes it as a historical adventure novel set against the War Of The Roses. However, as said before, Stevenson is only briskly concerned with the conflict and is more interested in the consequences that the war bears on the fortunes of the characters and events of the story. The real story, of young Richard Shelton, the orphaned ward of the influential knight Sir Daniel Brackley, of how he discovers the damning secret of his father's death and is then thrust into a dangerous, suspenseful and even romantic adventure in which is loyalties are tested and even allegiances are deceptive, is sufficiently full of enough intrigue, peril, excitement and glory. But even more than mere entertainment, it is remarkable how mature and serious does "The Black Arrow" feel. Like the other two adventures written by Stevenson, this too has been endowed with the unmistakable shades of a mature genre.
Stevenson never refrains from pushing the story into the grimiest corners and the darkest directions. The violence of the action is palpably gritty and intense - we actually feel the sting of those volleys of arrows when they find their targets unerringly and as the narrative is thickened with relish by blending daring skirmishes and deadly ambushes, hair-breadth escapes and failed rescues, near-shipwrecks and even elaborate pursuits and even a gruesome battle unfolding in the streets of Shoreby, he presents us with many a sobering and unsettling scene of chaos and anarchy that are smartly stripped of all semblance to glory, thus creating an urgent and authentic realism that makes the reader believe in the significance and import of all these events.
Similarly, the characters are equally fleshed out with skill and conviction. The "hero" of the adventure - Richard Shelton - is no self-assured knight in shining armour but is instead an idealistic, even naïve young man who discovers and learns of the ambiguous complexity of people and situations unfolding around him and thus comes of age in the course of the story. His capacity for heroic derring-do is tested on more than one occasion when he is compelled to retreat or resort to unlikely alliances and this constant sense of paranoia and peril makes us believe whole-heartedly in the importance of his quest which has little to do with the war between York and Lancaster or even the intrigue of the noblemen changing from side to side. It is at heart a stirring, sensational romance - about Shelton's dangerous and dramatic quest to win the hand of his lady love and thus the stakes of his quest feel truly monumental.
Even the so-called villains and allies of this adventure are far from being merely villains of a monstrous nature or disposition. There is no doubting that the main antagonist of the novel is capable of ruthless deeds but even he is deserving of empathy and is portrayed as a brave and cool-headed leader of men at war. On the other hand, one of the many allies upon whom Shelton has to depend is revealed to be capable of cold-blooded cruelty. And for an adventure novel in the nineteenth century, "The Black Arrow" is wonderfully modern in its portrait of women. Far from being damsels in distress, they are brave and heroic in their own way.
None of this modernism, however, interrupts or distorts the pure, exhilarating pleasure of Stevenson's prose, that his nephew Graham Greene praised for its elegant economy, or his prowess for picking the right words that awed Chesterton too. With a galloping pace and yet a sublime and even poetic eye for detail, he skillfully grips us throughout an adventure rich with excitement, drama and moral realism. Why can't there be more such adventures to read in today's times?
And yet, unlike Scott, Robert Louis Stevenson was not interested only in the minutiae of history or political intrigue and was more concerned with human morality and its inevitable complexity. "The Black Arrow" is indeed a rousing swashbuckler with a difference, an adventure story with thrills and spills, with suspense and romance but also, most crucially, a terrific cast of characters, not entirely heroic yet admirable, not wholly heartless yet dangerous. It is a swashbuckler that feels almost real and resonant.
It is also unexpectedly a swashbuckler that has aged most wonderfully and elegantly. Back in the days of boyhood, I would often try and imagine what would be the story for this novel by Stevenson - we had always been able to find in the shelves of the school library pocket-sized adaptations of "Treasure Island" or "Kidnapped" but "The Black Arrow" had always eluded us - and inevitably, the story that would flash in my mind would be that of gallant archers, young and chivalrous heroes, damsels in distress imprisoned in English castles and even charismatic villains to contend with. And truly, the novel not only lives up to a boy's vivid fantasies but also holds up as a splendid adventure novel for fully matured readers (I myself read it at the age of thirty) with a surprising level of profound resonance.
Many a summary describes it as a historical adventure novel set against the War Of The Roses. However, as said before, Stevenson is only briskly concerned with the conflict and is more interested in the consequences that the war bears on the fortunes of the characters and events of the story. The real story, of young Richard Shelton, the orphaned ward of the influential knight Sir Daniel Brackley, of how he discovers the damning secret of his father's death and is then thrust into a dangerous, suspenseful and even romantic adventure in which is loyalties are tested and even allegiances are deceptive, is sufficiently full of enough intrigue, peril, excitement and glory. But even more than mere entertainment, it is remarkable how mature and serious does "The Black Arrow" feel. Like the other two adventures written by Stevenson, this too has been endowed with the unmistakable shades of a mature genre.
Stevenson never refrains from pushing the story into the grimiest corners and the darkest directions. The violence of the action is palpably gritty and intense - we actually feel the sting of those volleys of arrows when they find their targets unerringly and as the narrative is thickened with relish by blending daring skirmishes and deadly ambushes, hair-breadth escapes and failed rescues, near-shipwrecks and even elaborate pursuits and even a gruesome battle unfolding in the streets of Shoreby, he presents us with many a sobering and unsettling scene of chaos and anarchy that are smartly stripped of all semblance to glory, thus creating an urgent and authentic realism that makes the reader believe in the significance and import of all these events.
Similarly, the characters are equally fleshed out with skill and conviction. The "hero" of the adventure - Richard Shelton - is no self-assured knight in shining armour but is instead an idealistic, even naïve young man who discovers and learns of the ambiguous complexity of people and situations unfolding around him and thus comes of age in the course of the story. His capacity for heroic derring-do is tested on more than one occasion when he is compelled to retreat or resort to unlikely alliances and this constant sense of paranoia and peril makes us believe whole-heartedly in the importance of his quest which has little to do with the war between York and Lancaster or even the intrigue of the noblemen changing from side to side. It is at heart a stirring, sensational romance - about Shelton's dangerous and dramatic quest to win the hand of his lady love and thus the stakes of his quest feel truly monumental.
Even the so-called villains and allies of this adventure are far from being merely villains of a monstrous nature or disposition. There is no doubting that the main antagonist of the novel is capable of ruthless deeds but even he is deserving of empathy and is portrayed as a brave and cool-headed leader of men at war. On the other hand, one of the many allies upon whom Shelton has to depend is revealed to be capable of cold-blooded cruelty. And for an adventure novel in the nineteenth century, "The Black Arrow" is wonderfully modern in its portrait of women. Far from being damsels in distress, they are brave and heroic in their own way.
None of this modernism, however, interrupts or distorts the pure, exhilarating pleasure of Stevenson's prose, that his nephew Graham Greene praised for its elegant economy, or his prowess for picking the right words that awed Chesterton too. With a galloping pace and yet a sublime and even poetic eye for detail, he skillfully grips us throughout an adventure rich with excitement, drama and moral realism. Why can't there be more such adventures to read in today's times?
December 1, 2014
I love Stevenson as a writer, yet The Black Arrow had somehow passed me by before now. It’s a medieval Treasure Island, set during the Wars of the Roses and published, like Treasure Island, first pseudonymously as a serial publication (1883), and then as a novel (1888). Like Treasure Island, The Black Arrow is often labeled as “children’s fiction,” though the current Young Adult category fits it better—i.e. there’s a lot in it for old adults as well.
Stevenson was amusingly dismissive of this book (he sympathizes with his wife in the dedicatory letter for never having managed to get through it), but it’s actually a splendid yarn and immensely readable. I ripped through it in a few hours on a long-distance flight: the perfect reading context for a novel of this kind. The quality isn’t uniform—a few passages are “by the yard”—but there’s also some excellent action writing and taut, evocative scene-setting. You can also see interesting anticipations of some of Stevenson’s later novelistic themes, especially in the latter stages, where Richard of Gloucester, the future Richard III, has a memorable cameo as a kind of dark, Hyde-like double to The Black Arrow’s boy protagonist Richard Shelton, revealing the ambiguities in Shelton's own character and actions.
I liked someone’s description of this novel in a review on this site as like reading an accelerated Dumas novel. The Black Arrow is certainly closer to Dumas than Scott in terms of historical heft, although it draws substantially on Ivanhoe, especially for its Robin Hood-like band of outlaws. Stevenson makes no attempt to track the actual political events of the 1460s, and he cheerily admits to having adding ten years to Richard III’s age to allow him to participate in the novel’s (entirely fictional) final battle.
The point about acceleration is also good. Stevenson writes with great economy, as always. His descriptive language is always graceful and precise, and sometimes inspired. A battered ship in a storm, half-disappearing beneath a wave, “rose on the other side with appalling, tremulous indecision;” the revenge-bent men of a village “came clustering in an inky mass” onto its snow-bound streets. In our first glimpse of the outlaws’ camp, predictably sinister elements—cauldrons, arrows, a deer carcass hung on a hawthorn bush—mix with the surreally poetic (“a man lay slumbering, rolled in a brown cloak, with a butterfly hovering over his face.”) There is something faintly miraculous about reading a simple tale of swashbuckling folk narrated with such refinement. I would happily read a shopping list written by this man.
Stevenson was amusingly dismissive of this book (he sympathizes with his wife in the dedicatory letter for never having managed to get through it), but it’s actually a splendid yarn and immensely readable. I ripped through it in a few hours on a long-distance flight: the perfect reading context for a novel of this kind. The quality isn’t uniform—a few passages are “by the yard”—but there’s also some excellent action writing and taut, evocative scene-setting. You can also see interesting anticipations of some of Stevenson’s later novelistic themes, especially in the latter stages, where Richard of Gloucester, the future Richard III, has a memorable cameo as a kind of dark, Hyde-like double to The Black Arrow’s boy protagonist Richard Shelton, revealing the ambiguities in Shelton's own character and actions.
I liked someone’s description of this novel in a review on this site as like reading an accelerated Dumas novel. The Black Arrow is certainly closer to Dumas than Scott in terms of historical heft, although it draws substantially on Ivanhoe, especially for its Robin Hood-like band of outlaws. Stevenson makes no attempt to track the actual political events of the 1460s, and he cheerily admits to having adding ten years to Richard III’s age to allow him to participate in the novel’s (entirely fictional) final battle.
The point about acceleration is also good. Stevenson writes with great economy, as always. His descriptive language is always graceful and precise, and sometimes inspired. A battered ship in a storm, half-disappearing beneath a wave, “rose on the other side with appalling, tremulous indecision;” the revenge-bent men of a village “came clustering in an inky mass” onto its snow-bound streets. In our first glimpse of the outlaws’ camp, predictably sinister elements—cauldrons, arrows, a deer carcass hung on a hawthorn bush—mix with the surreally poetic (“a man lay slumbering, rolled in a brown cloak, with a butterfly hovering over his face.”) There is something faintly miraculous about reading a simple tale of swashbuckling folk narrated with such refinement. I would happily read a shopping list written by this man.
January 25, 2024
I am rating this one 4 stars
DESPITE
the narration.
It was a good story. One that tried to tell the tale of honor, love (I think), justice, the horrors of war, and the horrors created by those "leading" a war. It's a classic tale and I'm glad I read/listened to it.
But if you are going to do this one by audiobook, maybe look for a more modern one. This one by Frasier was, candidly -- and it gives me no pleasure to say this, please believe me -- was really not good. It was kind of lifeless, slow and dull.
It was a good story. One that tried to tell the tale of honor, love (I think), justice, the horrors of war, and the horrors created by those "leading" a war. It's a classic tale and I'm glad I read/listened to it.
But if you are going to do this one by audiobook, maybe look for a more modern one. This one by Frasier was, candidly -- and it gives me no pleasure to say this, please believe me -- was really not good. It was kind of lifeless, slow and dull.
March 27, 2018
It was a very enjoyable book but I really liked Treasure Island much more.
December 2, 2017
Raccontami una storia
Le dame, i cavalieri, i soldati, i fuorilegge. La Guerra delle due Rose, le battaglie, spade, frecce, cavalli. Il castello e la foresta. La brama di potere, l’istinto di vendetta. L’ingiustizia e la ribellione. Il tradimento, l’infamia, il coraggio, l’amicizia. Un amore che sboccia. Le rocambolesche avventure e il lieto fine.
Ah, se l’avessi letto da bambina lo avrei adorato!
Invece l’ho letto adesso e l’ho adorato.
https://youtu.be/PBL_zxd64xk
Grazie, grazie e ancora grazie, Tusitala!
Le dame, i cavalieri, i soldati, i fuorilegge. La Guerra delle due Rose, le battaglie, spade, frecce, cavalli. Il castello e la foresta. La brama di potere, l’istinto di vendetta. L’ingiustizia e la ribellione. Il tradimento, l’infamia, il coraggio, l’amicizia. Un amore che sboccia. Le rocambolesche avventure e il lieto fine.
Ah, se l’avessi letto da bambina lo avrei adorato!
Invece l’ho letto adesso e l’ho adorato.
https://youtu.be/PBL_zxd64xk
Grazie, grazie e ancora grazie, Tusitala!
October 3, 2023
I have no idea why The Black Arrow is not canon in the way that Treasure Island or Dr. Jeckyl and Mr. Hide are. It is a fantastic read, especially if you are like me and are in any way attracted to all things medieval. But there is much to love for anyone who is fond of thrilling adventure and surprisingly complex characters: sword fights, maidens in distress who are yet not helpless, class warfare ala Robin Hood, spies, historical figures, revenge, love, thieves, daring night raids from the sea - the list goes on and on. The book is not perfect. There are moments in the middle when the plot languishes, and the ending feels a bit too much like RLS was running out of time at the end of an exam and had to rush everything to its conclusion. But I have to give it five stars, despite its flaws, because, like every Robert Louis Stevenson book I've ever read, I could not put it down. I couldn't put it down, but there are scenes from the book that I will always remember. It is exceedingly rare for a book to be both gripping and memorable. I think he manages this by both painting with broad, exciting strokes, and attaching real consequences to the characters. The story is set up in a well-written, but fairly standard way, with a clear hero with a clear mission and clear enemies to struggle against. But though the hero proceeds to fight and slaughter his way toward what he wants in the most heroic fashion, he is actually changed by this. He is made to see that what he does, even when he had good intentions, has negative consequences. He is made to feel guilt for his more deplorable actions and the reader is asked to look at the actions themselves - not to excuse them just because he is the hero. Because of this, Dick Shelton is as memorable a character as any in literature. I strongly recommend the book.
March 15, 2023
Исторически роман за "Войната на розите" в средновековна Англия.
Превъзходно написан, чисто удоволствие, четен и препрочитан през годините.
Да си спътник на младия Дик и да попаднеш с него във върхушката от битки, предателства и несгоди, помага да се опознае добре конкретния период. Той ще срещне любовта и ще излезе от премеждията истински възмъжал.
А за всяко черно сърце, има по една смъртоносна черна стрела, долетяла изневиделица!
P.S. Това издание е с чудесните илюстрации на H. M. Paget. Можете да научите повече за тях и да ги видите тук:
http://robert-louis-stevenson.org/ill...
Превъзходно написан, чисто удоволствие, четен и препрочитан през годините.
Да си спътник на младия Дик и да попаднеш с него във върхушката от битки, предателства и несгоди, помага да се опознае добре конкретния период. Той ще срещне любовта и ще излезе от премеждията истински възмъжал.
А за всяко черно сърце, има по една смъртоносна черна стрела, долетяла изневиделица!
P.S. Това издание е с чудесните илюстрации на H. M. Paget. Можете да научите повече за тях и да ги видите тук:
http://robert-louis-stevenson.org/ill...
May 13, 2018
Ammetto: è stata una botta di nostalgia per il celebre sceneggiato.
Uno Stevenson decisamente minore che non avrei avuto la costanza di leggere dall’inizio alla fine. Ma per fortuna esiste l’audiolibro.
Uno Stevenson decisamente minore che non avrei avuto la costanza di leggere dall’inizio alla fine. Ma per fortuna esiste l’audiolibro.
April 18, 2021
Romanzo d'avventura ambientato durante la guerra delle due rose.
Sicuramente un bellissimo classico da leggere, entusiasmante ed avvincente.
Ci si affeziona ai personaggi e non si può non tifare per loro.
Sicuramente un bellissimo classico da leggere, entusiasmante ed avvincente.
Ci si affeziona ai personaggi e non si può non tifare per loro.
January 15, 2016
This book was such an unexpected dissapointment.
It was one of my 20 or so favorites when I was a kid. My son is now of that age and I wanted to recommend it to him so, just in case, I wanted to re-read it first since I didn't remember anything except that it was set in England during the War of the Roses period.
It is an interesting coming-of-age adventure story with action, revenge, and forbidden love. Unfortunately, it is so poorely written. Considering how much I liked it then, I will give it a blended score of 3 (the average of 5 and 1).
I was so excited... Now I am heart-broken :(
It was one of my 20 or so favorites when I was a kid. My son is now of that age and I wanted to recommend it to him so, just in case, I wanted to re-read it first since I didn't remember anything except that it was set in England during the War of the Roses period.
It is an interesting coming-of-age adventure story with action, revenge, and forbidden love. Unfortunately, it is so poorely written. Considering how much I liked it then, I will give it a blended score of 3 (the average of 5 and 1).
I was so excited... Now I am heart-broken :(
February 25, 2018
Me costó llegar al final, la verdad. La historia no está mal, pero no es muy de mi gusto.
June 9, 2023
Očekuješ srećnu pobedu? Bolje unapred prihvati da te čeka baksuzan poraz! Ozbiljno, ova avantura ima toliko preokreta, očekivanih i neočekivanih, da su početne rečenice idealan alternativni naslov. Nema boljeg razloga uzeti ovu knjigu za pročitati do avanturističkog duha priče.
Kao i u Treasure Island, pustolovina prati odrastanje mladog i još uvek neiskusnog mladića kroz gorke poraze, srećne odluke, nezavidne situacije, varljive pobede i vredne greške; kraće rečeno, Stivenson ponovo uspeva da napiše trezvenu, poučnu, ali ne previše mračnu priču o sazrevanju. Pobede ne dolaze bez kajanja, snaga nije garant uspeha, a sami trijumfi ne moraju biti vezani za materijalna bogatstva. Najbolji deo knjige - taj.
I pored napisanog, knjiga nije idealna. Način na koji su prva ljubav i ženski likovi napisani su nesumnjivo produkt svog vremena, tj. napisani su vrlo neuverljivo, prosto i pomalo frustrirajuće. Možda nije pravo uputiti te reči za scene upoznavanja, ali ostatak je definitivno takav. Od hrabre devojke spremne da se izloži velikim opasnostima radi spasenja dolazimo do (naj)pasivnog igrača sa "misijom" da se onesvesti u stresnim situacijama. Eh, ne može izgleda sve da se odjednom u životu ubode.
Kao i u Treasure Island, pustolovina prati odrastanje mladog i još uvek neiskusnog mladića kroz gorke poraze, srećne odluke, nezavidne situacije, varljive pobede i vredne greške; kraće rečeno, Stivenson ponovo uspeva da napiše trezvenu, poučnu, ali ne previše mračnu priču o sazrevanju. Pobede ne dolaze bez kajanja, snaga nije garant uspeha, a sami trijumfi ne moraju biti vezani za materijalna bogatstva. Najbolji deo knjige - taj.
I pored napisanog, knjiga nije idealna. Način na koji su prva ljubav i ženski likovi napisani su nesumnjivo produkt svog vremena, tj. napisani su vrlo neuverljivo, prosto i pomalo frustrirajuće. Možda nije pravo uputiti te reči za scene upoznavanja, ali ostatak je definitivno takav. Od hrabre devojke spremne da se izloži velikim opasnostima radi spasenja dolazimo do (naj)pasivnog igrača sa "misijom" da se onesvesti u stresnim situacijama. Eh, ne može izgleda sve da se odjednom u životu ubode.
January 13, 2013
Originally published on my blog here in January 2002.
This medieval romance is one of Stevenson's minor adventure stories. Its main character is naive young noble Richard Shenton, who discovers that his guardian is in fact an evil man who murdered Richard's father and who looks to become wealthy by continually swapping sides in the Wars of the Roses. (The point of the guardianship is this. When a noble heir was orphaned, his revenues until he came of age were in the hands of his liege lord, or such guardian as he appointed; moreover, the guardian was also frequently granted the tax payable on coming of age or marriage. These rights were the subject of lucrative trade in medieval England, and were one of the crown's major sources of income.)
To a modern reader, the main obstacle in The Black Arrow and the major reason it is less well known than, say, Treasure Island, is the flowery pseudo-medieval language used in the dialogue. This is something that has gradually been toned down in historical novels during the twentieth century, until now they are usually written with characters who speak more or less colloquial modern English. This is due to a change in philosophy; it is now considered better to accessibly reproduce what it felt like to be alive at the time the novel is set than to attempt to literally recreate it, and a modern reader will react differently to the kind of language used here from the way their medieval counterpart would have done to hearing it spoken. (And, of course, there was more regional and class based differentiation between individuals when people travelled less widely; this would be extremely difficult to duplicate, even for an expert in dialect development. Writers like Scott, Morris, Stevenson and so on didn't attempt to do this, and gave their characters dialogue based on a romanticised version of the formal speeches in medieval poetry - at least as inauthentic as modern usage.)
One of the merits of Stevenson's writing is the imperfection of his heroes. They tend to be - as Shelton is here - naive, not too bright, but with a strong moral sense; this makes them more interesting than the characters of many of the other writers of what might be termed proto-thrillers. Interestingly, when first published in serial form, The Black Arrow was more successful than Treasure Island had been; this ordering has since been reversed to leave the earlier novel as one of the classics of English popular fiction with The Black Arrow as just another novel by the same writer.
This medieval romance is one of Stevenson's minor adventure stories. Its main character is naive young noble Richard Shenton, who discovers that his guardian is in fact an evil man who murdered Richard's father and who looks to become wealthy by continually swapping sides in the Wars of the Roses. (The point of the guardianship is this. When a noble heir was orphaned, his revenues until he came of age were in the hands of his liege lord, or such guardian as he appointed; moreover, the guardian was also frequently granted the tax payable on coming of age or marriage. These rights were the subject of lucrative trade in medieval England, and were one of the crown's major sources of income.)
To a modern reader, the main obstacle in The Black Arrow and the major reason it is less well known than, say, Treasure Island, is the flowery pseudo-medieval language used in the dialogue. This is something that has gradually been toned down in historical novels during the twentieth century, until now they are usually written with characters who speak more or less colloquial modern English. This is due to a change in philosophy; it is now considered better to accessibly reproduce what it felt like to be alive at the time the novel is set than to attempt to literally recreate it, and a modern reader will react differently to the kind of language used here from the way their medieval counterpart would have done to hearing it spoken. (And, of course, there was more regional and class based differentiation between individuals when people travelled less widely; this would be extremely difficult to duplicate, even for an expert in dialect development. Writers like Scott, Morris, Stevenson and so on didn't attempt to do this, and gave their characters dialogue based on a romanticised version of the formal speeches in medieval poetry - at least as inauthentic as modern usage.)
One of the merits of Stevenson's writing is the imperfection of his heroes. They tend to be - as Shelton is here - naive, not too bright, but with a strong moral sense; this makes them more interesting than the characters of many of the other writers of what might be termed proto-thrillers. Interestingly, when first published in serial form, The Black Arrow was more successful than Treasure Island had been; this ordering has since been reversed to leave the earlier novel as one of the classics of English popular fiction with The Black Arrow as just another novel by the same writer.
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April 3, 2013
Another classic, child-hood favorite! I haven't read it in over 20 years, so it's time for a re-read!
~
I'm glad I re-read it! I appreciated it on a number of different levels this time around, beyond simply enjoying the action, adventure and romance aspects. There were all sorts of historical characters and events that 9 year-old Ian failed to recognize (apparently, I didn't know much about Richard III or the War of the Roses back then). Stevenson creates arguably the most successful fictional adaptation of Richard III, presenting him as a complex, multifaceted man who, while not conventionally likable, is a brilliant leader and powerful warrior. I also suspect that this novel formed the inspiration for Lloyd Alexander's The Book of Three, as the relationship between Dick & John reminded me of the relationship between Taran & Eilonwy. Despite Stevenson's own contempt for this novel, I appreciated its frank depiction of the wages of war and the complicated nature of the York/Lancaster struggled. Definitely a book I'll be reading to or recommending to my children!
~
I'm glad I re-read it! I appreciated it on a number of different levels this time around, beyond simply enjoying the action, adventure and romance aspects. There were all sorts of historical characters and events that 9 year-old Ian failed to recognize (apparently, I didn't know much about Richard III or the War of the Roses back then). Stevenson creates arguably the most successful fictional adaptation of Richard III, presenting him as a complex, multifaceted man who, while not conventionally likable, is a brilliant leader and powerful warrior. I also suspect that this novel formed the inspiration for Lloyd Alexander's The Book of Three, as the relationship between Dick & John reminded me of the relationship between Taran & Eilonwy. Despite Stevenson's own contempt for this novel, I appreciated its frank depiction of the wages of war and the complicated nature of the York/Lancaster struggled. Definitely a book I'll be reading to or recommending to my children!
May 3, 2018
Caro, caro Robert
Se avessi avuto 15 anni per questo libro sarei impazzita. L’avventura di un giovane in cui identificarsi, le peripezie, le battaglie, l’amore ne fanno un libro perfetto per gli ardori dell’adolescenza. Con questo non voglio sicuramente sminuirlo, ma credo che forse con gli occhi di un adulto si perda un po’ quella meraviglia che solo agli occhi dei più piccoli può esistere. Il libro è comunque una lettura piacevole, avvincente e in alcuni punti divertente. Da leggere per chi ha una lacuna da colmare.
Se avessi avuto 15 anni per questo libro sarei impazzita. L’avventura di un giovane in cui identificarsi, le peripezie, le battaglie, l’amore ne fanno un libro perfetto per gli ardori dell’adolescenza. Con questo non voglio sicuramente sminuirlo, ma credo che forse con gli occhi di un adulto si perda un po’ quella meraviglia che solo agli occhi dei più piccoli può esistere. Il libro è comunque una lettura piacevole, avvincente e in alcuni punti divertente. Da leggere per chi ha una lacuna da colmare.
June 8, 2019
This was a really fun read. A young, brave, noble hero and a young, fierce heroine go on an adventure. There's lots of action and danger, and you really root for the main characters, because they have such good hearts, honesty, and depth of feeling. I'll be honest, I didn't really pay very close attention to the fighting scenes, of which there were plenty.
It felt a little naive. Had I read it as a teenager, I think it would have joined my "favorites" shelf.
It felt a little naive. Had I read it as a teenager, I think it would have joined my "favorites" shelf.
April 14, 2020
Un libro lleno de aventuras donde tenemos a un malo, Sir Daniel, que a todo le saca beneficio y se cambia de chaqueta cuando hace falta, ya sea con los Lannister (uy, jiji Lancaster) o los York (en este caso, los buenos). Un chico inocente Richard o Dick y una damisela en apuros. Con estos ingredientes R.L. Stevenson crea una historia llena de aventuras que he disfrutado como una niña chica.
February 25, 2018
Me costó llegar al final, la verdad. La historia no está mal, pero no fue muy de mi gusto.
April 29, 2022
Šoreiz , lasot „Piedzīvojumi. Fantastika. Ceļojumi.”sēriju, pievērsos action gabalam. Paņēmu veco labo Roberta Stīvensona gabalu. Bērnībā viņu jau biju lasījis veselu vienu reizi, kas it kā liecināja, ka grāmata man nez kādēļ īsti nav patikusi.
Rit 1460. gads, notiek Rožu kari, katram augstmanim ir jāizlemj, kurā pusē nostāties. Uz kara fona rit Ričarda Šeltona piedzīvojumi. Viņš kļūst par bruņinieku, atriebj sava tēva nāvi, izglābj lēdiju Džoannu. Vēl viņš paspēj pievienoties Melnās bultas brālībai, kas sastāv no viņa patēva sera Daniela apspiestajiem ļautiņiem. Melnās bultas vadonis Ellisa Dakvors savu dzīvi velta, lai atriebtos seram Danielam. Ričards viņam pievienojas un lēnām tiek ierauts notikumos, kas izšķir visu kara likteni.
Sākums tīri tā neko- vīri atnākuši uz ciemu mobilizēt atlikušos zemniekus karaspēka vajadzībām. Pēkšņi viens veterāns, kuru nolēmuši atstāt par pils garnizona priekšnieku, dabū bultu ribās. Tad kāds pie baznīcas (pasarg Dievs) durvīm pienaglo nākamo trīs upuru sarakstu (dzejā). Nav jēgas te runāt par jebkādu šī stāsta vēsturisko pamatojumu, tur autors ir vairāk iedvesmojies no citu rakstīta nekā vēstures. Kauju datumi un troņa pretendentu vecumi neiet kopā nemaz. Nākotnes karalim Ričardam trešajam savi vīri kaujā bija jāvada, ja ticam autora rakstītajam astoņu gadu vecumā. Tādēļ šo darbu labāk uztvert kā tīru piedzīvojumu romānu. Romāns ir sarakstīts 1883. gadā, un tā stils atbilst tā laika romāna prasībām. Galvenais lai ir piedzīvojumi un labs stāsts, notikumu loģika, lai paliek otrajā plānā.
Ričards Šeltons, saukts arī par Diku, ir apbrīnojams ar savu spēju nepamanīt acīmredzamo. Visu mūžu viņš ir vadījis pie patēva, cik var noprast, kopā devušies pārgājienos un medībās. Audzināts kā paša dēls, tai pat laikā viņam nav ne jausmas par to, kas notiek apkārt. Viņš nekad nav aizdomājies par sava tēva nāves iemeslu. Tas savukārt nav nekāds noslēpums visiem apkārtējiem, izņemot Diku. Tāpat viņš nespēj atšķirt sievieti ietērptu vīrieša drēbēs no puikas. Novazājas pāris dienas ar tādu kopā pa mežu, bet nepamana neko aizdomīgu. Kā karavadonis viņš ir totāls nejēga, un katrā kaujā zaudē vai visus savus vīrus. Labi, ka tie mistiskā vietā visu laiku atjaunojas. Ričarda iemīļotais iepazīšanās veids ir sākt kauties. To lietu viņš pieprot, un acīmredzot tādā veidā pārvar savu kautrību. Vēl viņa iemīļots hobijs ir doties uz ģēlu ar iereibušu komandu. Nu un laiku pa laikam piedaloties izšķirošās cīņās zaudējot visus savus vīrus. Pie tam pats redzot nelabvēlīgu cīņas (kuru pats iniciējis) iznākumu, parasti metas bēgt pametot vīrus bez komandiera. Taču visas šīs īpašības nez kādēļ rada viņam labu slavu.
Džoanna, sākumā parādās kā Džeks, ir tipiska romānu meiča. Viņa iemīlas Dikā un tas viņā no pirmā acu skatiena. Diks gan tikai tad, kad meitene novilkusi bikses un uzvilkusi kleitu. Tad notiek bēgšana, kura izdodas tikai Dikam. Taču ar to pietiek, lai jauniešu būtu lemti viens otram, neskatoties, ka abi jau ir izprecināti. Diks mīļotās dēļ zaudē pārdesmit Melnās bultas bandas biedrus, nogremdē kuģi, nogalina punduri un pakāš piecdesmit jātnieku lielu vienību. Bet mīlestība jau ir tā vērta.
Pašu stāstu var lasīt tikai ar vieglu smīnu sejā, tas patiešām nav pārāk izdevies. Bet tai laikā jau neviens par notiekošā ticamību neaizdomājās, galvenais, lai ir spriedze un darbība. Mūsdienu standartiem šis stāsts noteikti nespēj kotēties augstāk par lubeni. Grāmatai lieku 6 no 10 ballēm, vispozitīvākā lieta tajā ir mazais apjoms.
Rit 1460. gads, notiek Rožu kari, katram augstmanim ir jāizlemj, kurā pusē nostāties. Uz kara fona rit Ričarda Šeltona piedzīvojumi. Viņš kļūst par bruņinieku, atriebj sava tēva nāvi, izglābj lēdiju Džoannu. Vēl viņš paspēj pievienoties Melnās bultas brālībai, kas sastāv no viņa patēva sera Daniela apspiestajiem ļautiņiem. Melnās bultas vadonis Ellisa Dakvors savu dzīvi velta, lai atriebtos seram Danielam. Ričards viņam pievienojas un lēnām tiek ierauts notikumos, kas izšķir visu kara likteni.
Sākums tīri tā neko- vīri atnākuši uz ciemu mobilizēt atlikušos zemniekus karaspēka vajadzībām. Pēkšņi viens veterāns, kuru nolēmuši atstāt par pils garnizona priekšnieku, dabū bultu ribās. Tad kāds pie baznīcas (pasarg Dievs) durvīm pienaglo nākamo trīs upuru sarakstu (dzejā). Nav jēgas te runāt par jebkādu šī stāsta vēsturisko pamatojumu, tur autors ir vairāk iedvesmojies no citu rakstīta nekā vēstures. Kauju datumi un troņa pretendentu vecumi neiet kopā nemaz. Nākotnes karalim Ričardam trešajam savi vīri kaujā bija jāvada, ja ticam autora rakstītajam astoņu gadu vecumā. Tādēļ šo darbu labāk uztvert kā tīru piedzīvojumu romānu. Romāns ir sarakstīts 1883. gadā, un tā stils atbilst tā laika romāna prasībām. Galvenais lai ir piedzīvojumi un labs stāsts, notikumu loģika, lai paliek otrajā plānā.
Ričards Šeltons, saukts arī par Diku, ir apbrīnojams ar savu spēju nepamanīt acīmredzamo. Visu mūžu viņš ir vadījis pie patēva, cik var noprast, kopā devušies pārgājienos un medībās. Audzināts kā paša dēls, tai pat laikā viņam nav ne jausmas par to, kas notiek apkārt. Viņš nekad nav aizdomājies par sava tēva nāves iemeslu. Tas savukārt nav nekāds noslēpums visiem apkārtējiem, izņemot Diku. Tāpat viņš nespēj atšķirt sievieti ietērptu vīrieša drēbēs no puikas. Novazājas pāris dienas ar tādu kopā pa mežu, bet nepamana neko aizdomīgu. Kā karavadonis viņš ir totāls nejēga, un katrā kaujā zaudē vai visus savus vīrus. Labi, ka tie mistiskā vietā visu laiku atjaunojas. Ričarda iemīļotais iepazīšanās veids ir sākt kauties. To lietu viņš pieprot, un acīmredzot tādā veidā pārvar savu kautrību. Vēl viņa iemīļots hobijs ir doties uz ģēlu ar iereibušu komandu. Nu un laiku pa laikam piedaloties izšķirošās cīņās zaudējot visus savus vīrus. Pie tam pats redzot nelabvēlīgu cīņas (kuru pats iniciējis) iznākumu, parasti metas bēgt pametot vīrus bez komandiera. Taču visas šīs īpašības nez kādēļ rada viņam labu slavu.
Džoanna, sākumā parādās kā Džeks, ir tipiska romānu meiča. Viņa iemīlas Dikā un tas viņā no pirmā acu skatiena. Diks gan tikai tad, kad meitene novilkusi bikses un uzvilkusi kleitu. Tad notiek bēgšana, kura izdodas tikai Dikam. Taču ar to pietiek, lai jauniešu būtu lemti viens otram, neskatoties, ka abi jau ir izprecināti. Diks mīļotās dēļ zaudē pārdesmit Melnās bultas bandas biedrus, nogremdē kuģi, nogalina punduri un pakāš piecdesmit jātnieku lielu vienību. Bet mīlestība jau ir tā vērta.
Pašu stāstu var lasīt tikai ar vieglu smīnu sejā, tas patiešām nav pārāk izdevies. Bet tai laikā jau neviens par notiekošā ticamību neaizdomājās, galvenais, lai ir spriedze un darbība. Mūsdienu standartiem šis stāsts noteikti nespēj kotēties augstāk par lubeni. Grāmatai lieku 6 no 10 ballēm, vispozitīvākā lieta tajā ir mazais apjoms.
October 26, 2021
Action and adventure during the War of the Roses.
Young Dick Shelton finds himself in the middle of intrigue, from his father's murder, to a prisoner his guardian is bringing to his hall, to the wars about him.
It involves a pursuit through the woods, the title black arrows being used to threat murderers, an attempt to mislead him with oaths, disguising himself a monk, winning and losing favor, an interrupted wedding, and more.
Young Dick Shelton finds himself in the middle of intrigue, from his father's murder, to a prisoner his guardian is bringing to his hall, to the wars about him.
It involves a pursuit through the woods, the title black arrows being used to threat murderers, an attempt to mislead him with oaths, disguising himself a monk, winning and losing favor, an interrupted wedding, and more.
April 27, 2018
"El mundo — como decía la gente en aquellos días — puede cambiar otra vez"
El libro narra las aventuras de Richard Dick Shelton sucedidas en la Inglaterra del s.XV durante la guerra civil entre la Casa de Lancaster y la Casa de York.
Una novela donde el protagonista tendrá que hacer frente a batallas, intrigas y enemigos inesperados mientras intenta recuperar al amor de su vida.
El libro narra las aventuras de Richard Dick Shelton sucedidas en la Inglaterra del s.XV durante la guerra civil entre la Casa de Lancaster y la Casa de York.
Una novela donde el protagonista tendrá que hacer frente a batallas, intrigas y enemigos inesperados mientras intenta recuperar al amor de su vida.
February 25, 2018
Me costó llegar al final, la verdad. La historia no está mal, pero no es muy de mi gusto.
April 17, 2012
Since I enjoyed Robert Louis Stevenson's Treasure Island and Strange Case of Dr Jekyll and Mr Hyde and enjoy medieval history, Stevenson's The Black Arrow would seem to be a perfect combination. The tale is solid, but unfortunately there are a few issues prevent it from delivering on its promise.
The Black Arrow, first published as a serial in 1883 and as a novel in 1888, follows the adventures of Dick Shelton as he discovers that his guardian may be responsible for the death of his father and seeks justice, attempts to rescue his betrothed from the clutches of said guardian, and gets swept up in the tumult of the War of the Roses.
Shelton comes across throughout the book as mostly naive and occasionally cruel and self-centered, and he seems to blunder from one encounter to the next. In short, it's hard to really root for him or care about him, as he has few redeeming qualities, but he's also just not that interesting, either. I've read other books where the main characters aren't exactly heroes (such as George R.R. Martin's A Song of Fire and Ice series), but in those cases, the main characters were at least plotting and scheming and being actively devious, which is entertaining. Shelton shows a bit of character growth at the end of the novel, showing regret about some of the dubious actions he took while trying to rescue his betrothed, but it isn't enough to redeem him as an interesting character.
Another downside to the book is the disjointed nature of it. It feels very episodic, as if Stevenson approached each chapter thinking, "Okay, what trouble can Dick Shelton get into next?" This precludes any sort of build-up of tension, and also results in a limit to how much each episode is affected by those that came earlier. When I started reading the book, I was not aware that it had first been serialized, but by the time I finished it, I guessed it had, as it read like a collection of episodes, and I'm aware it was common practice at the time (Stevenson's Treasure Island was first published serially in the same magazine as The Black Arrow, and even Charles Dickens released his work that way).
The old fashioned language was a difficulty in getting into the book. I was reminded of watching a Shakespearean play, where it takes you a scene or two to really get into the old language and follow along relatively clearly. I had no trouble with the similarly jargon-laden and old fashioned Treasure Island. Maybe I just speak pirate better than I do knight.
The best parts of the book are the action scenes. These are strong, and helps redeem some of the other shortcomings of the novel. There are chases through forests, spying and sneaking, one on one combats, and large battles.
I think I'm probably being harder on this book than it might deserve because I'm holding up against Stevenson's other work. It's okay, it just lacks the life and energy of Treasure Island or the creepy tension of Strange Case of Dr Jekyll and Mr Hyde, and isn't the same sort of genre-defining work as those two stories.
I listened to the audio version read by Shelly Frasier. Frasier doesn't stand out with this book, though she isn't inherently bad, either, and I wouldn't avoid her in other productions. I didn't especially care for her reading this book, though, primarily because 95% of the characters are male, and having to decipher her narrow range of fake male voices to track who was speaking on top of following along with the difficult language wasn't an ideal combination.
The Black Arrow is a solid book that has the misfortune to have been written by an author with other fantastic books that outshine it. If you like medieval stories, you'll probably enjoy The Black Arrow, but I can't recommend it to the general reader like I can Treasure Island or Strange Case of Dr Jekyll and Mr Hyde.
If you're interested, check out my reviews Stevenson's Treasure Island and Strange Case of Dr Jekyll and Mr Hyde here on Amazon for more of my thoughts on those works.
The Black Arrow, first published as a serial in 1883 and as a novel in 1888, follows the adventures of Dick Shelton as he discovers that his guardian may be responsible for the death of his father and seeks justice, attempts to rescue his betrothed from the clutches of said guardian, and gets swept up in the tumult of the War of the Roses.
Shelton comes across throughout the book as mostly naive and occasionally cruel and self-centered, and he seems to blunder from one encounter to the next. In short, it's hard to really root for him or care about him, as he has few redeeming qualities, but he's also just not that interesting, either. I've read other books where the main characters aren't exactly heroes (such as George R.R. Martin's A Song of Fire and Ice series), but in those cases, the main characters were at least plotting and scheming and being actively devious, which is entertaining. Shelton shows a bit of character growth at the end of the novel, showing regret about some of the dubious actions he took while trying to rescue his betrothed, but it isn't enough to redeem him as an interesting character.
Another downside to the book is the disjointed nature of it. It feels very episodic, as if Stevenson approached each chapter thinking, "Okay, what trouble can Dick Shelton get into next?" This precludes any sort of build-up of tension, and also results in a limit to how much each episode is affected by those that came earlier. When I started reading the book, I was not aware that it had first been serialized, but by the time I finished it, I guessed it had, as it read like a collection of episodes, and I'm aware it was common practice at the time (Stevenson's Treasure Island was first published serially in the same magazine as The Black Arrow, and even Charles Dickens released his work that way).
The old fashioned language was a difficulty in getting into the book. I was reminded of watching a Shakespearean play, where it takes you a scene or two to really get into the old language and follow along relatively clearly. I had no trouble with the similarly jargon-laden and old fashioned Treasure Island. Maybe I just speak pirate better than I do knight.
The best parts of the book are the action scenes. These are strong, and helps redeem some of the other shortcomings of the novel. There are chases through forests, spying and sneaking, one on one combats, and large battles.
I think I'm probably being harder on this book than it might deserve because I'm holding up against Stevenson's other work. It's okay, it just lacks the life and energy of Treasure Island or the creepy tension of Strange Case of Dr Jekyll and Mr Hyde, and isn't the same sort of genre-defining work as those two stories.
I listened to the audio version read by Shelly Frasier. Frasier doesn't stand out with this book, though she isn't inherently bad, either, and I wouldn't avoid her in other productions. I didn't especially care for her reading this book, though, primarily because 95% of the characters are male, and having to decipher her narrow range of fake male voices to track who was speaking on top of following along with the difficult language wasn't an ideal combination.
The Black Arrow is a solid book that has the misfortune to have been written by an author with other fantastic books that outshine it. If you like medieval stories, you'll probably enjoy The Black Arrow, but I can't recommend it to the general reader like I can Treasure Island or Strange Case of Dr Jekyll and Mr Hyde.
If you're interested, check out my reviews Stevenson's Treasure Island and Strange Case of Dr Jekyll and Mr Hyde here on Amazon for more of my thoughts on those works.
January 2, 2018
De Robert L. Stevenson había leído con anterioridad las que han de ser sus dos obras más famosas: La isla del tesoro y El extraño caso del Dr. Jekill y Mr. Hyde y quedé maravillado con su forma de narrar las historias y, si bien, hace ya bastante rato que he leído ambos libros, recuerdo perfectamente las sensaciones vividas con la lectura, particularmente, con La isla del tesoro con el cual me sentí pirata.
Ahora toca el turno a La flecha negra un libro bastante diferente a los anteriores que leí de este autor, principalmente por la época en que transcurre la historia. Nos presenta aquí, Stevenson, a una Inglaterra que atraviesa una de las duras etapas de la Guerra de las Dos Rosas, conflicto bélico interno que enfrentó a las Casas de York y Lancaster, por el trono inglés.
La narración cuenta las peripecias de Richard Shelton, hijo de Henry Shelton a quien su tutor había supuestamente asesinado, quien se ve involucrado con Jane Sedley, de quien se enamora y con quien pretende contraer matrimonio. Al lado de estos personajes vemos a otros que tienen mayor o menor importancia. Un punto realmente no me agradó y que la Hermandad de la Flecha Negra cuenta con escaso desarrollo, no vemos su total motivación, el líder que debería tener una personalidad avasalladora resulta en exceso etéreo, como si estuviera desdibujado. En una historia de venganza, y sobre todo si elemento da título al libro, la acción debería girar principalmente en torno a ese elemento.
No obstante este único punto negativo, es un gran libro que me hizo disfrutar de las aventuras en las campiñas medievales, al punto de verme sumergido en la historia e imaginarme las caras de los personajes, sus ropas, expresiones, paisajes y detalles, solo un gran autor, solo un gran narrador puede lograr este efecto en un lector, y Robert L. Stevenson es todo es y mucho más.
Me agradó sobremanera el personaje de Richard Crookback, futuro rey (reinó con el nombre de Ricardo III) un hombre duro y cruel, tanto que Ricardo III de Shakespeare será mi primera lectura de 2018.
Excelente libro de aventuras para pasar un buen rato en la Inglaterra medieval.
Ahora toca el turno a La flecha negra un libro bastante diferente a los anteriores que leí de este autor, principalmente por la época en que transcurre la historia. Nos presenta aquí, Stevenson, a una Inglaterra que atraviesa una de las duras etapas de la Guerra de las Dos Rosas, conflicto bélico interno que enfrentó a las Casas de York y Lancaster, por el trono inglés.
La narración cuenta las peripecias de Richard Shelton, hijo de Henry Shelton a quien su tutor había supuestamente asesinado, quien se ve involucrado con Jane Sedley, de quien se enamora y con quien pretende contraer matrimonio. Al lado de estos personajes vemos a otros que tienen mayor o menor importancia. Un punto realmente no me agradó y que la Hermandad de la Flecha Negra cuenta con escaso desarrollo, no vemos su total motivación, el líder que debería tener una personalidad avasalladora resulta en exceso etéreo, como si estuviera desdibujado. En una historia de venganza, y sobre todo si elemento da título al libro, la acción debería girar principalmente en torno a ese elemento.
No obstante este único punto negativo, es un gran libro que me hizo disfrutar de las aventuras en las campiñas medievales, al punto de verme sumergido en la historia e imaginarme las caras de los personajes, sus ropas, expresiones, paisajes y detalles, solo un gran autor, solo un gran narrador puede lograr este efecto en un lector, y Robert L. Stevenson es todo es y mucho más.
Me agradó sobremanera el personaje de Richard Crookback, futuro rey (reinó con el nombre de Ricardo III) un hombre duro y cruel, tanto que Ricardo III de Shakespeare será mi primera lectura de 2018.
Excelente libro de aventuras para pasar un buen rato en la Inglaterra medieval.
May 30, 2011
Stevenson has a gift for dramatic action and this "swashbuckler" novel would take little effort to make into a screenplay. It was a help to be reading this on a Kindle where the antiquarian English words could be easily defined, but there are several editions that are well-footnoted.
Stevenson puts his young protagonist in the middle of the War of the Roses and gives a sense of how turbulent a time that was with shifting alliances and villages obliged to show fealty to a new lord (and pay rents) at a moment's notice. The romance is contrived but works. The picture of Richard "Crouchback" shows that Stevenson did extensive historical research before giving us this vivid picture of the times.
Stevenson puts his young protagonist in the middle of the War of the Roses and gives a sense of how turbulent a time that was with shifting alliances and villages obliged to show fealty to a new lord (and pay rents) at a moment's notice. The romance is contrived but works. The picture of Richard "Crouchback" shows that Stevenson did extensive historical research before giving us this vivid picture of the times.
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