The Beach of Falesa

The novel set out their journey with imperial system pursuits such exploitation, but
they both undergo a sense of illumination and catharsis during their journeys into the heart
of imperialism where they discover the politics of so-called civilisation. Similarly, white
villains, Case in The Beach of Falesá, contrary to Darwin’s (1859) book Preservation of
Favoured Races in the Struggle for Life cannot survive at the end as the fittest, but rather
end their journeys as the weakest, representing the destructive effects of imperialism on
both white men and natives. The endings of the works hint the ways in which readers can
reconsider representations as to whether promoting or avoiding imperialism and social
Darwinism. For instance, devil temple of Case can be considered as the devilish attitude of
imperialism and social Darwinism. Stevenson bring his readers to the heart of imperialism
where white men corrupt and eventually get corrupted. The colonial and imperial activities
during the nineteenth century divided the world into two poles: those who made their way
to the exploration and eventually exploitation of new territories, and those who were
unaware of colonial activities till new settlers arrive in their land. The encounter between
‘civilized men’ and ‘uncivilized one’ and its distorting effects on both sides are the recurring
themes in The Beach of Falesá. With his example of Samoa in The Beach of Falesá, Robert
Louis Stevenson writes on white man’s contamination of native culture as a result of
imperialism, and in this sense, it corresponds to Conrad’s depiction of imperial brutality. The
way Wiltshire behaves exemplifies the implications of social Darwinism in which it is believed
that certain races have rights over others as they represent the ideals of civilisation. Policies
of the firm serves to interests of imperial enterprise, and hence encourages its members to
gain ‘profit’ as much as possible. The idea of gaining more profit at any cost opens the way
of exploitation of not only native resources, but also its culture. However, as the story
unfolds, Stevenson’s ideas on imperialism become clearer. In other words, Wiltshire’s pre-
racist discourses and behaviours regress, and indeed he starts doing the exact opposite of
what German firm advised above for European traders to follow in Samoa. This is quite
evident firstly, when he gets into quarrel with the other European trader, Case and
eliminates him both for the sake of natives and his trade, secondly when he prepares a real
marriage ceremony with Uma according to both Christianity and native traditions. He finally
abandons his initial purpose of visiting the island and chooses a life with Uma: “I would
rather have you [Uma] than all the copra in the South Seas” (Stevenson, 1892, p. 17). These
are the moments when Wiltshire revolts against directly codes of imperialism and social
Darwinism. This is because a marriage between a white man and a local woman would
relatively mean accepting Uma as his equal in her own terms. This in return would subvert
the hierarchal relations and boundaries that social Darwinism promoted. At the end of the
work, imperialism is shown not only to harm what all that belongs to ‘the others’, but also to
sacrifice his own subjects as for Case though being the fittest to survive.
Gothic elements:
"The Beach of Falesá" by Robert Louis Stevenson incorporates occult elements to enhance
the atmosphere and add a supernatural dimension to the narrative. Here are some ways in
which Stevenson employs occult elements in the novella:
1. Tahitian Superstitions: The story is set in the South Pacific on the fictional island of
Falesá, and Stevenson weaves the indigenous Tahitian superstitions and beliefs into the
narrative. The native characters on the island adhere to their traditional spiritual practices,
and these beliefs play a significant role in shaping the events of the story. The presence of
supernatural elements is often linked to these local beliefs.
2. Taboo and Forbidden Places: Stevenson uses the concept of taboo and forbidden
places on the island to create an aura of mystery and danger. The beach itself is considered a
taboo area, and there are hints of supernatural consequences for those who violate these
cultural and spiritual restrictions. The forbidden aspects of the landscape contribute to the
occult atmosphere.
3. Cursed Objects: The narrative includes objects that are imbued with supernatural
significance. For example, the mysterious box that Wiltshire receives from Uma is said to
contain powerful items associated with black magic. The presence of such cursed objects
adds an occult layer to the story.
4. Influence of Spirits: The novella suggests the influence of spirits and supernatural
forces on the characters. The mysterious happenings on the island, particularly those related
to the characters' fates, hint at a spiritual realm that goes beyond the natural world. The
interactions between the living and the unseen are reminiscent of occult themes.
5. Dreams and Visions: Dreams and visions play a role in conveying the occult elements.
Characters experience dreams that foreshadow events or serve as warnings. These dream
sequences contribute to the sense of the mysterious and supernatural in the narrative.
Hybridity:
In "The Beach of Falesá" by Robert Louis Stevenson, the concept of hybridity is reflected
through the character of Wiltshire, who represents a cultural and racial hybrid. Hybridity, in
the context of postcolonial theory, refers to the blending or mixing of different cultural
elements, often resulting from the interaction between colonizers and the colonized. Here
are ways in which Stevenson reflects hybridity in the novella:
1. Mixed Heritage of Wiltshire: Wiltshire, the European trader, has a mixed racial
background. He is described as being of "European and Polynesian extraction." This mixed
heritage positions him in a unique and complex cultural space, straddling both the European
and indigenous worlds. His mixed ancestry makes him a symbolic representation of the
hybridity resulting from colonial encounters.
2. Cultural Adaptation: Wiltshire adapts to the local customs and way of life on the
island of Falesá. He engages with the native population, learns their language, and embraces
certain aspects of their culture. This cultural adaptation blurs the lines between the colonizer
and the colonized, highlighting the fluidity and hybrid nature of identity in the colonial
context.
3. Interracial Relationships: The novella explores the theme of interracial relationships,
particularly Wiltshire's romantic involvement with Uma, a native woman. Their relationship
challenges the social and cultural norms of the time, illustrating the intersection of different
cultural backgrounds and the potential for hybrid identities in the colonial setting.
4. Conflict of Loyalties: Wiltshire's mixed heritage creates internal conflicts and
challenges his sense of identity and loyalty. He is caught between the European traders and
the native population, trying to navigate the complexities of cultural hybridity in a society
marked by colonial power dynamics.
5. Symbolism of the Union Jack: The novella uses the Union Jack (the British flag) as a
symbolic representation of hybridity. Wiltshire's act of nailing the Union Jack to a tree on the
beach is a potent image that signifies the blending of European colonial symbols with the
local landscape. This act represents the complex interplay of cultures and the hybrid nature
of colonial identities.
Through the character of Wiltshire and the themes explored in "The Beach of Falesá,"
Stevenson provides a nuanced portrayal of hybridity in the colonial context. The novella
challenges traditional notions of cultural purity and highlights the fluid and dynamic nature
of identity that emerges from the encounter between different cultures and communities.