King Solomons Mines

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of the matter is, that I thought that the best plan would be to tell the story in a plain straightforward manner…I cannot help thinking that simple things are always the most impressive, books are easier to understand when they are written in plain language, though I have perhaps no right to set up an opinion on such a matter.” (Haggard 6).
In this introduction/disclaimer, Allan Quatermain as our narrator, comes clean with his intentions, providing a stabilizing retrospective for the ensuing epitaph. He seems well aware of the vague line between words intended for fiction and those intended for controversy. And by designating the jolly old Quatermain as narrator, Haggard vicariously endear himself to his readers by exuding a simple humility in light of his grander than grand exposé, all the while disposing of the pretense intrinsic to most literary works. Haggard, due to the relative sensitivity of his subject matter, has no desire to have his novel the target of ...

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to the drama of the momentous nature of the plot. For it is the plot that Haggard seems to regard with the highest esteem.
The ensuing story line is simple at best. Even in the event of a scene which seems to present prospective avenues of interpretation, Haggard, with the simplest of intentions in mind, chooses not to leave his account to the whims of interpretation, and thus chance, but rather leaves little doubt of the history just witnessed by providing a lucid and unadorned explanation. Such is the case in regard to the three “Silent Ones,” “there upon huge pedestals of dark rock, sculptured in unknown characters, twenty paces between each, and looking down ...

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