The Ignoble Savages — Reading Companion
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Snaddra had but one choice in its fight to afford to live belowground--underhandedly pretend theirs was an aboveboard society!
"Go Away from me, Skkiru," Larhgan said, pushing his hand off her arm. "A beggar does not associate with the high priestess of Snaddra."
"But the Earthmen aren't due for another fifteen minutes," Skkiru protested.
"Of what importance are fifteen minutes compared to eternity!" she exclaimed. Her lovely eyes fuzzed softly with emotion. "You don't seem to realize, Skkiru, that this isn't just a matter of minutes or hours. It's forever."
"Forever!" He looked at her incredulously. "You mean we're going to keep this up as a permanent thing? You're joking!"
Bbulas groaned, but Skkiru didn't care about that. The sad, sweet way Larhgan shook her beautiful head disturbed him much more, and when she said, "No, Skkiru, I am not joking," a tiny pang of doubt and apprehension began to quiver in his second smallest left toe.
"This is, in effect, good-by," she continued. "We shall see each other again, of course, but only from a distance. On feast days, perhaps you may be permitted to kiss the hem of my robe ... but that will be all."
Skkiru turned to the third person present in the council chamber. "Bbulas, this is your fault! It was all your idea!"
There was regret on the Dilettante's thin face--an obviously insincere regret, the younger man knew, since he was well aware how Bbulas had always felt about the girl.
"I am sorry, Skkiru," Bbulas intoned. "I had fancied you understood. This is not a game we are playing, but a new way of life we are adopting. A necessary way of life, if we of Snaddra are to keep on living at all."
"It's not that I don't love you, Skkiru," Larhgan put in gently, "but the welfare of our planet comes first."
She had been seeing too many of the Terrestrial fictapes from the library, Skkiru thought resentfully. There was too damn much Terran influence on this planet. And this new project was the last straw.
No longer able to control his rage and grief, he turned a triple somersault in the air with rage. "Then why was I made a beggar and she the high priestess? You arranged that purposely, Bbulas. You--"
"Now, Skkiru," Bbulas said wearily, for they had been through all this before, "you know that all the ranks and positions were distributed by impartial lot, except for mine, and, of course, such jobs as could carry over from the civilized into the primitive."
Bbulas breathed on the spectacles he was wearing, as contact lenses were not considered backward enough for the kind of planet Snaddra was now supposed to be, and attempted to wipe them dry on his robe. However, the thick, jewel-studded embroidery got in his way and so he was forced to lift the robe and wipe all three of the lenses on the smooth, soft, spun metal of his top underskirt.
"After all," he went on speaking as he wiped, "I have to be high priest, since I organized this culture and am the only one here qualified to administer it. And, as the president himself concurred in these arrangements, I hardly think you--a mere private citizen--have the right to question them."
"Just because you went to school in another solar system," Skkiru said, whirling with anger, "you think you're so smart!"
"I won't deny that I do have educational and cultural advantages which were, unfortunately, not available to the general populace of this planet. However, even under the old system, I was always glad to utilize my superior attainments as Official Dilettante for the good of all and now--"
"Sure, glad to have a chance to rig this whole setup so you could break up things between Larhgan and me. You've had your eye on her for some time."
Skkiru coiled his antennae at Bbulas, hoping the insult would provoke him into an unbecoming whirl, but the Dilettante remained calm. One of the chief outward signs of Terran-type training was self-control and Bbulas had been thoroughly terranized.
_I hate Terrestrials_, Skkiru said to himself. _I hate Terra._ The quiver of anxiety had risen up his leg and was coiling and uncoiling in his stomach. He hoped it wouldn't reach his antennae--if he were to break down and psonk in front of Larhgan, it would be the final humiliation.
The Ignoble Savages opens with a staged farewell between Larhgan, the high priestess, and Skkiru, a beggar, as they prepare for the arrival of Earthmen. The Snaddrath have adopted a "primitive" way of life to conceal their true underground civilization, a ruse that immediately introduces the novella's central tension: the performance of culture for an external audience. The narrative shifts between the Snaddrath's orchestrated scenes and the Earth ethnologists' interpretations, creating a layered structure where every gesture—Skkiru's triple somersault, Bbulas's jewel-studded robe—carries double meaning.
Dual Perspectives and Dramatic Irony
The story alternates between the Snaddrath's preparations and the Earthmen's field notes, generating dramatic irony. Readers see both the artifice—Skkiru's mudshoes worn only once, the "hut" that is nearly a palace—and the ethnologists' attempts to rationalize these anomalies. Cyril, the more skeptical Earthman, questions why a society with complex social structures wears inadequate clothing, while Raoul eagerly fits observations into textbook patterns. This split perspective invites readers to watch the watchers, noting how each side misreads the other.
Recurring Images of Performance and Concealment
Costume and props are central to the Snaddrath's deception. Bbulas wears spectacles because contact lenses are "not considered backward enough," and the robe's embroidery hinders his attempt to wipe them—a small detail that underscores the friction between role and reality. Skkiru's cigarette craving, denied because tobacco is not indigenous, highlights how the performance suppresses personal desire. The roof that leaks yet the building is called a "hut" exemplifies the gap between signifier and signified, a motif that recurs in the Earthmen's debates about cultural anomalies.
Movement Between Scenes: From Council Chamber to Ethnologist's Tent
The novella moves rapidly between intimate Snaddrath scenes—the council chamber, the beggar's encounter—and the Earthmen's quarters, where Cyril and Raoul analyze data. This spatial alternation mirrors the thematic oscillation between surface and depth. The Earthmen's tent, with its "hardened" cots and smoke rings, contrasts with the Snaddrath's mud and jeweled robes, emphasizing the collision of two worlds. Each shift in setting recalibrates the reader's understanding: what seemed like primitive behavior is revealed as calculated performance, and vice versa.
Voice and Dialogue as Cultural Marker
Dialogue distinguishes the two groups. The Snaddrath speak in melodramatic, almost theatrical tones—"Of what importance are fifteen minutes compared to eternity!"—while the Earthmen use clinical, academic language: "Environmental pressures seem to have had no effect upon their culture." This contrast not only defines character but also signals the novella's satirical edge. The Snaddrath's inflated rhetoric, borrowed from Terrestrial fictapes, hints at cultural contamination, while the Earthmen's detached analysis misses the emotional stakes. The result is a comedy of miscommunication where neither side fully grasps the other's reality.
Readers attentive to the novella's structure will find that the gaps between what is shown and what is said—the mudshoes, the leaking roof, the borrowed rhetoric—are where the story's meaning resides. Smith uses these discrepancies not as plot holes but as deliberate signals of the Snaddrath's predicament. The work rewards a careful eye for detail and a willingness to question both the natives' performance and the ethnologists' conclusions.
I finished that Snaddrath book and couldn’t shake how its staged primitiveness made me question what was real. It reminded me of another story, gentler but with the same ache inside its politeness. The Polite People of Pudibundia — Story, Setting & Ideas lingers like a half-remembered conversation, where everyone’s kindness is a quiet performance we’re never quite let in on.
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