Hector Hugh Munro, who wrote under the pseudonym Saki, is a distinctive voice in English literature. He is often compared with O. Henry for the surprise endings of his stories, but, despite their shared taste for irony, he has none of O. Henry’s sentimentality. Saki’s stories have a tone of acid sophistication which has influenced several twentieth-century humorists, from P. G. Wodehouse to Dorothy Parker, but which has never been entirely imitated.

Saki’s crisp, urbane style of writing is peculiarly effective at highlighting the absurd. The deadly quarrel between Ulrich and Georg is deflated by the calm precision of the author’s description. As the story progresses, the two men come to share the author’s point of view and wonder why they hated each other so fiercely. However, there is still a note of criticism in the way they are portrayed, which continues to distance them from the author’s perspective. This is best represented by the dialogue Saki gives to Georg when he decides to become Ulrich’s friend:

How the whole region would stare and gabble if we rode into the market square together. No one living can remember seeing a Znaeym and a von Gradwitz talking to one another in friendship. And what peace there would be among the forester folk if we ended our feud to-night. And if we choose to make peace among our people there is none other to interfere, no interlopers from outside. . . . You would come and keep the Sylvester night beneath my roof, and I would come and feast on some high day at your castle. . . . I never thought to have wanted to do other than hate you all my life, but I think I have changed my mind about things too, this last half-hour. And you offered me your wine flask. . . . Ulrich von Gradwitz, I will be your friend.

This excerpt is from the longest piece of direct speech in the story, and it is no accident that Saki gives it to the character of lower social standing. By the time this story was written in the 1910s, it had long been a trope of English literature and culture that the British upper classes regarded both foreigners and their own countrymen lower down the social scale as overly emotional. This was already such a stereotype in 1872 that the French novelist Jules Verne made Phileas Fogg, the English hero of Around the World in Eighty Days, a model of understated stoicism. When contrasted with the coolness of the narrative voice, Georg’s sudden rush of emotion here is intended to sound embarrassing and excessive.

There is also a certain social pretension in Georg‘s placing the two families on the same level—and even putting his own name first—in the eyes of “the whole region.” Georg never forgets his sense of his own importance. He suggests that it is only their quarrel which has prevented the region in which they live from enjoying perfect peace. He also assumes that friendship with Ulrich means immediate intimacy. As soon as Ulrich offers his friendship, Georg invites himself to Ulrich’s castle and suggests that they spend one of the most important holidays of the year—Sylvester night, or New Year’s Eve—together. Although the omniscient narrator holds himself aloof from both men, the more plebeian character arguably comes across as slightly more ridiculous, as well as less magnanimous.

At this stage in the story, therefore, the two men have come to agree with the narrator’s implied view that their feud is futile and absurd, but they both remain too self-absorbed and self-important to share his perspective completely. As they wait to be rescued, each still hopes that his men will be first on the scene so that he can make a grand gesture of magnanimity, demonstrating that he is as good as his word. They are still focused on themselves, still curiously naïve. Despite feuding over this little piece of land for their entire lives, they seem to know little about it or the dangers it contains.

When Ulrich and Georg first meet, they are both armed and angry. Saki’s narrator points out that this solitary encounter is the opportunity for which both men have been waiting:

But a man who has been brought up under the code of a restraining civilisation cannot easily nerve himself to shoot down his neighbour in cold blood and without word spoken, except for an offence against his hearth and honour.

This “restraining civilisation” which prevents Ulrich and Georg from firing at one another is contrasted a moment later with “Nature’s own violence,” which injures and imprisons the two men under a tree with a ruthlessness of which neither of them is capable. Although the two men undergo real emotional change over the course of the narrative, they remain unchanged in one crucial sense: they are too civilized to survive the onslaughts of Nature, which in Saki’s view, as in Tennyson’s “In Memoriam,” is “red in tooth and claw.” Much of the narrative has focused on the vanity of small differences. The two men think they are in complete contrast to one another, when in fact their thoughts and actions are very much alike. They have obsessed about these small differences precisely because their claims to the land do not connect them to it in any meaningful way. The storm, the fallen tree, and the wolves are all symbols of the unforgiving environment which they ignore until they are finally forced to acknowledge it at the end of the story.

World War I

In the late 19th and early 20th centuries, tensions among European powers began to escalate. Imperialist nations were vying for territories in Asia and Africa, ethnic groups were seeking autonomy, and countries were striving to build more formidable military forces. Additionally, a network of alliances had formed in the region, where nations pledged to support each other in conflicts.

In 1914, a Serbian nationalist assassinated the heir to the Austro-Hungarian throne, igniting the spark that led to World War I. As tensions rose between Austria-Hungary and Serbia, Germany (an ally of Austria-Hungary) declared war on Russia (an ally of Serbia). Germany further expanded the conflict by declaring war on France and invading Belgium to reach France, violating an 1839 neutrality agreement. Great Britain declared war on Germany the same day. Other nations quickly joined the conflict, dividing Europe into the Central Powers (Germany, Austria-Hungary, Bulgaria, and the Ottoman Empire) and the Allied forces (Britain, France, Russia, Italy, and numerous other nations).

The western front of the war extended across eastern France, while the eastern front saw battles deep into Russian territory. Fighting also occurred in present-day Turkey and the North Sea. By 1916, the war on the western front and at sea had reached a stalemate. However, in early 1917, Germany decided to engage in unrestricted submarine warfare and sent a secret telegram to Mexico proposing an alliance against the United States. In April 1917, the United States entered the war on the side of the Allies.

In 1918, Russia signed a separate peace treaty with the Central Powers, leading many to believe the war would drag on for years. Germany withdrew its troops from the eastern front and launched an offensive against Allied lines in France, coming within thirty-seven miles of Paris. However, the arrival of thousands of American troops each month helped to hold them back. The Allies launched a counteroffensive in July 1918. Simultaneously, the Central Powers began to collapse. Bulgaria and the Ottoman Empire surrendered, and a revolution in Austria-Hungary ended the Hapsburg Empire. Austria and Hungary formed separate governments and ceased fighting. The German government collapsed in November 1918. On November 11, 1918, an armistice was signed, bringing World War I to an end.

The War in France

The western front of the war extended through eastern France. In September 1914, the Allies halted the initial German advance. During the First Battle of the Marne, French troops initiated a counterattack. Following this battle, both the French and German forces prepared to defend their positions. They adopted a strategy called trench warfare, where each side fought from the safety of deep ditches. Two extensive trench systems spanned 400 miles along the western front. The area between the opposing trenches, known as no-man’s-land, ranged in width from approximately 200 to 1,000 yards. Progress was minimal for both sides. In the Battle of the Somme, which lasted from July to November 1915, the Allies managed to push the Germans back only a few miles. Another prolonged battle at Verdun lasted ten months. Nearly one million soldiers perished in these two battles alone.

By the time American forces arrived in Europe in 1917, German troops occupied parts of France and Belgium. American units joined the Allies on the western front and played a crucial role in preventing the German forces from capturing Paris. The Second Battle of the Marne, fought in the summer of 1918, became the war's turning point. Allied forces began pushing the Germans out of France. By the time the armistice was signed in November 1918, Germany held only a small fraction of French territory.

British Society

British society experienced significant transformations during the 1910s and 1920s. The gap between the rich and the poor became less pronounced. Fewer households had servants, poorer individuals accessed the same goods as the wealthy, and the middle class gained more political influence. Many homes were equipped with modern conveniences like electricity and plumbing. By the end of the decade, class distinctions had diminished in importance for social interactions, including marriages.

World War I also brought about substantial changes. Millions of women entered the workforce, securing jobs in government and private offices as well as factories. These increased economic opportunities advanced women's emancipation, and by 1918, the Franchise Act granted all women over the age of twenty-eight the right to vote.

"The Interlopers" by Saki masterfully intertwines suspense and surprise to explore profound themes regarding justice and humanity's relationship to nature. The narrative unfolds as a critique of the vendetta mentality, depicting how inherited conflicts distort human relationships and affect the wider community. At the same time, the story delves into the realm of literary naturalism, illustrating nature's indifference, or perhaps hostility, to human endeavors.

The Futility of Vendettas

The central theme of "The Interlopers" is the senselessness of vendettas. Ulrich and Georg's animosity is rooted in a conflict passed down from their ancestors, rather than any personal grievance. This age-old feud has warped their perceptions of each other and ingrained in their community a cycle of hate and retaliation. This societal ripple effect is emblematic of Shakespeare's Montagues and Capulets, who, through unfounded hatred, cause a tragic chain of events. The moment both men are physically struck down by nature, they are forced into an epiphany, recognizing their shared humanity and the triviality of their discord. Their readiness to abandon hostility underscores the flimsiness of their previous enmity.

Interlopers in Nature

From a broader perspective, "The Interlopers" aligns with literary naturalism, highlighting the primitive, unconcerned force of nature amidst human pretensions. Ulrich and Georg's perception that they can claim dominion over a piece of land is a pivotal error, revealing their ignorance of nature's overarching sovereignty. This belief in their legal rights and the illusion of control is starkly contrasted by the natural world's indifferent schemes.

Nature's Indifference

The fable-like structure of the story emphasizes humanity's misplaced belief in controlling or owning nature. Their vendetta could have been resolved without interference had it not been for the wind and the falling tree. Subsequently, their newfound camaraderie is rendered futile by the arrival of the wolves, the true interlopers. These wolves symbolize nature's utter disregard for human disputes and resolutions, reinforcing the theme of naturalism. The abrupt, chilling end of the story serves as a grim reminder of nature's dominance and perhaps even hostility towards human conceit.

The Ironic Twist

The unexpected appearance of the wolves adds a layer of irony to the story, starkly contrasting the protagonists' belief in human dominion over nature. This twist not only highlights the futility of their feud but also the broader theme that nature operates independently of human desires. This irony is at the heart of "The Interlopers," suggesting that while humans may plan and plot, nature ultimately has the final say.

Through these themes, Saki presents a sharp critique of human arrogance and the flawed assumption of control over nature. "The Interlopers" challenges readers to reflect on the transient nature of human conflicts and the immutable force of the natural world, delivering its message with both subtlety and power.

Point of View

"The Interlopers" employs a third-person omniscient perspective, granting the narrator a god-like ability to reveal the full scope of the narrative. This vantage point allows for a comprehensive presentation of the historical feud over the coveted land while delving into the mirrored personalities of Georg and Ulrich. Through this lens, readers are privy to the inner thoughts and feelings of both protagonists, uncovering their shared traits and deep-seated animosities. This understanding highlights the irony that their similarities, rather than differences, have driven them towards a deadly confrontation, underscoring the senseless nature of their conflict.

Dialogue

Dialogue serves as a pivotal element in "The Interlopers," acting as the vehicle through which reconciliation is tentatively explored. Ulrich initiates the conversation by expressing a desire to "bury the old quarrel," articulating a hope to move beyond the entrenched hostility. Georg's reciprocal response to Ulrich's overture signifies a nascent recognition of their shared humanity. This exchange not only bridges the emotional divide that has long separated them but also emphasizes their mutual experiences, suggesting the possibility of redemption and peace, though fleeting.

Ending

The conclusion of the narrative is marked by an eerie, foreboding silence, punctuated only by the revelation of what looms in the shadows. Ulrich's discovery of approaching "Wolves!" delivers a chilling finality, leaving the reader to grapple with the horrors implied rather than explicitly detailed. The starkness of this ending, combined with Ulrich's "idiotic chattering laugh of a man unstrung with hideous fear," paints a vivid picture of the impending doom that awaits both men, making explicit descriptions unnecessary. The subtlety of this conclusion amplifies the terror of their fate, overshadowed by nature's indifference.

Personification

Throughout "The Interlopers," Saki vividly personifies the natural world, imbuing it with the characteristics of a sentient antagonist. Nature is portrayed as a ferocious entity, retaliating against the intrusion of the men upon her domain. The forest, acting with a mind of its own, topples a tree to break the stalemate between the two enemies, asserting her dominance over them. Moreover, the elements themselves, like the "breathing wind" and the struggling "trees," are depicted as living participants in the unfolding drama. This personification not only enhances the narrative tension but also mirrors the men's own primal instincts, blurring the line between nature and humanity in their battle for control.

1910s: Following the conclusion of World War I, forty-two countries, excluding the United States, join the League of Nations. This organization, officially established in 1920, aims to help maintain global peace.

Today: As of 2001, the United Nations boasts 189 member states worldwide. Formed in 1945, the UN replaced the League of Nations with the goal of maintaining international peace and security while deterring acts of aggression.

1910s: By the mid-1910s, numerous countries across the globe are engaged in World War I.

Today: Various regional conflicts persist in different parts of the world, such as the ongoing disputes between Israelis and Palestinians in the Middle East and the tensions between Catholics and Protestants in Northern Ireland. Over the years, the United Nations and several countries, especially the United States, have been actively involved in peace negotiations.

1910s: On the brink of World War I, the Austro-Hungarian Empire encompasses a vast area in Central Europe. The empire's defeat in the war leads to its dissolution into the independent republics of Austria and Hungary, as well as the formation of Czechoslovakia and Yugoslavia from its former territories.

Today: The collapse of the Soviet Union in the early 1990s and the subsequent fall of communism in Eastern and Central Europe have led to the creation of new countries and international boundaries. The former Czechoslovakia has split into the Czech Republic and Slovakia, while the former Yugoslavia has fragmented into six nations: Slovenia, Croatia, Bosnia, Herzegovina, Serbia, and Macedonia.

Sources

Forbes, Alexander Malcolm, “Saki,” in Dictionary of Literary Biography, Vol. 162: British Short-Fiction Writers, edited by John H. Rogers, Gale Research, 1996, pp. 240–50.

Frost, Adam, “A Hundred Years of Saki,” in Contemporary Review, December 1999, Vol. 275, p. 302.

Review of The Toys of Peace, in New York Times Book Review, July 6, 1919, p. 358.

Review of The Toys of Peace, in Spectator, March 22, 1919, p. 380.

Further Reading

Langguth, A. J., Saki: A Life of Hector Hugh Munro, Simon & Schuster, 1981. This biography by Langguth features six previously unpublished short stories by Saki.

Williamson, Samuel R., Jr., Austria-Hungary and the Origins of the First World War, St. Martin’s Press, 1991.
Through an analysis of Hapsburg decisions from 1912 to 1914, Williamson contends that Austria-Hungary, rather than Germany, took the initial military actions that led to World War I.