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The Blue Lagoon: A Romance

by H. De Vere (Henry De Vere) Stacpoole

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EN
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EPUB
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Description

Set in the South Pacific, "The Blue Lagoon: A Romance" was published in 1908 and exemplifies early twentieth-century adventure fiction. The novel follows two young cousins who are shipwrecked on a remote island after their caretaker's death, leaving them to survive alone in an uninhabited environment. As they grow up in solitude, they confront the challenges of nature, develop their understanding of maturity, and experience the complexities of love without any contact with civilisation. The story depicts their efforts to adapt to the island’s threats and the gradual process of their transformation into young adults, set against the backdrop of a pristine yet perilous paradise.

The narrative examines themes of innocence, discovery, and the passage from childhood to maturity through the lens of survival and natural exploration. It explores the characters’ evolving relationship with their environment and each other, culminating in an ambiguous conclusion that reflects on the consequences of their isolated existence and the boundaries between civilisation and nature.

From the opening pages

Mr Button was seated on a sea-chest with a fiddle under his left ear. He was playing the “Shan van vaught,” and accompanying the tune, punctuating it, with blows of his left heel on the fo’cs’le deck. “O the Frinch are in the bay, Says the Shan van vaught .” He was dressed in dungaree trousers, a striped shirt, and a jacket baize—green in parts from the influence of sun and salt. A typical old shell-back, round-shouldered, hooked of finger; a figure with strong hints of a crab about it. His face was like a moon, seen red through tropical mists; and as he played it wore an expression of strained attention as though the fiddle were telling him tales much more marvellous than the old bald statement about Bantry Bay. “Left-handed Pat,” was his fo’cs’le name; not because he was left-handed, but simply because everything he did he did wrong—or nearly so. Reefing or furling, or handling a slush tub—if a mistake was to be made, he made it. He was a Celt, and all the salt seas that had flowed between him and Connaught these forty years and more had not washed the Celtic element from his blood, nor the belief in fairies from his soul. The Celtic nature is a fast dye, and Mr Button’s nature was such that though he had been shanghaied by Larry Marr in ’Frisco, though he had got drunk in most ports of the world, though he had sailed with Yankee captains and been man-handled by Yankee mates, he still carried his fairies about with him—they, and a very large stock of original innocence. Nearly over the musician’s head swung a hammock from which hung a leg; other hammocks hanging in the semi-gloom called up suggestions of lemurs and arboreal bats. The swinging kerosene lamp cast its light forward, past the heel of the bowsprit to the knightheads, lighting here a naked foot hanging over the side of a bunk, here a face from which protruded a pipe, here a breast covered with dark mossy hair, here an arm tattooed. It was in the days before double topsail yards had reduced ships’ crews, and the fo’cs’le of the Northumberland had a full company: a crowd of packet rats such as often is to be found on a Cape Horner “Dutchmen” Americans—men who were farm labourers and tending

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