I gather you were a little down in the jaw when you wrote your last. I am as usual pretty cheerful, but not very strong. I stay in the house all winter, which is base; but, as you continue to see, the pen goes from time to time, though neither fast enough nor constantly enough to please me.

My wife is at Bath with my father and mother, and the interval of widowery explains my writing. Another person writing for you when you have done work is a great enemy to correspondence. To-day I feel out of health, and shan't work; and hence this so much overdue reply.

I was re-reading some of your South Sea Idyls the other day: some of the chapters are very good indeed; some pages as good as they can be.

How does your cla.s.s get along? If you like to touch on OTTO, any day in a by-hour, you may tell them - as the author's last dying confession - that it is a strange example of the difficulty of being ideal in an age of realism; that the unpleasant giddy- mindedness, which spoils the book and often gives it a wanton air of unreality and juggling with air-bells, comes from unsteadiness of key; from the too great realism of some chapters and pa.s.sages - some of which I have now spotted, others I dare say I shall never spot - which disprepares the imagination for the cast of the remainder.

Any story can be made TRUE in its own key; any story can be made FALSE by the choice of a wrong key of detail or style: Otto is made to reel like a drunken - I was going to say man, but let us subst.i.tute cipher - by the variations of the key. Have you observed that the famous problem of realism and idealism is one purely of detail? Have you seen my 'Note on Realism' in Ca.s.sell's MAGAZINE OF ART; and 'Elements of Style' in the CONTEMPORARY; and 'Romance' and 'Humble Apology' in LONGMAN'S? They are all in your line of business; let me know what you have not seen and I'll send 'em.

I am glad I brought the old house up to you. It was a pleasant old spot, and I remember you there, though still more dearly in your own strange den upon a hill in San Francisco; and one of the most San Francisco-y parts of San Francisco.

Good-bye, my dear fellow, and believe me your friend,

ROBERT LOUIS STEVENSON.

Letter: TO J. A. SYMONDS

SKERRYVORE, BOURNEMOUTH [SPRING 1886].

MY DEAR SYMONDS, - If we have lost touch, it is (I think) only in a material sense; a question of letters, not hearts. You will find a warm welcome at Skerryvore from both the lightkeepers; and, indeed, we never tell ourselves one of our financial fairy tales, but a run to Davos is a prime feature. I am not changeable in friendship; and I think I can promise you you have a pair of trusty well- wishers and friends in Bournemouth: whether they write or not is but a small thing; the flag may not be waved, but it is there.

Jekyll is a dreadful thing, I own; but the only thing I feel dreadful about is that d.a.m.ned old business of the war in the members. This time it came out; I hope it will stay in, in future.

Raskolnikoff is easily the greatest book I have read in ten years; I am glad you took to it. Many find it dull: Henry James could not finish it: all I can say is, it nearly finished me. It was like having an illness. James did not care for it because the character of Raskolnikoff was not objective; and at that I divined a great gulf between us, and, on further reflection, the existence of a certain impotence in many minds of to-day, which prevents them from living IN a book or a character, and keeps them standing afar off, spectators of a puppet show. To such I suppose the book may seem empty in the centre; to the others it is a room, a house of life, into which they themselves enter, and are tortured and purified. The Juge d'Instruction I thought a wonderful, weird, touching, ingenious creation: the drunken father, and Sonia, and the student friend, and the uncirc.u.mscribed, protaplasmic humanity of Raskolnikoff, all upon a level that filled me with wonder: the execution also, superb in places. Another has been translated - HUMILIES ET OFFENSES. It is even more incoherent than LE CRIME ET LE CHATIMENT, but breathes much of the same lovely goodness, and has pa.s.sages of power. Dostoieffsky is a devil of a swell, to be sure. Have you heard that he became a stout, imperialist conservative? It is interesting to know. To something of that side, the balance leans with me also in view of the incoherency and incapacity of all. The old boyish idea of the march on Paradise being now out of season, and all plans and ideas that I hear debated being built on a superb indifference to the first principles of human character, a helpless desire to acquiesce in anything of which I know the worst a.s.sails me. Fundamental errors in human nature of two sorts stand on the skyline of all this modem world of aspirations. First, that it is happiness that men want; and second, that happiness consists of anything but an internal harmony. Men do not want, and I do not think they would accept, happiness; what they live for is rivalry, effort, success - the elements our friends wish to eliminate. And, on the other hand, happiness is a question of morality - or of immorality, there is no difference - and conviction. Gordon was happy in Khartoum, in his worst hours of danger and fatigue; Marat was happy, I suppose, in his ugliest frenzy; Marcus Aurelius was happy in the detested camp; Pepys was pretty happy, and I am pretty happy on the whole, because we both somewhat crowingly accepted a VIA MEDIA, both liked to attend to our affairs, and both had some success in managing the same. It is quite an open question whether Pepys and I ought to be happy; on the other hand, there is no doubt that Marat had better be unhappy. He was right (if he said it) that he was LA MISERE HUMAINE, cureless misery - unless perhaps by the gallows. Death is a great and gentle solvent; it has never had justice done it, no, not by Whitman. As for those crockery chimney-piece ornaments, the bourgeois (QUORUM PARS), and their cowardly dislike of dying and killing, it is merely one symptom of a thousand how utterly they have got out of touch of life. Their dislike of capital punishment and their treatment of their domestic servants are for me the two flaunting emblems of their hollowness.

G.o.d knows where I am driving to. But here comes my lunch.

Which interruption, happily for you, seems to have stayed the issue. I have now nothing to say, that had formerly such a pressure of twaddle. Pray don't fail to come this summer. It will be a great disappointment, now it has been spoken of, if you do. - Yours ever,

ROBERT LOUIS STEVENSON

Letter: TO W. H. LOW

[SKERRYVORE, BOURNEMOUTH, MARCH 1886.]

MY DEAR LOW, - This is the most enchanting picture. Now understand my state: I am really an invalid, but of a mysterious order. I might be a MALADE IMAGINAIRE, but for one too tangible symptom, my tendency to bleed from the lungs. If we could go, (1ST) We must have money enough to travel with LEISURE AND COMFORT - especially the first. (2ND) You must be prepared for a comrade who would go to bed some part of every day and often stay silent (3RD) You would have to play the part of a thoughtful courier, sparing me fatigue, looking out that my bed was warmed, etc. (4TH) If you are very nervous, you must recollect a bad haemorrhage is always on the cards, with its concomitants of anxiety and horror for those who are beside me.

Do you blench? If so, let us say no more about it.

If you are still unafraid, and the money were forthcoming, I believe the trip might do me good, and I feel sure that, working together, we might produce a fine book. The Rhone is the river of Angels. I adore it: have adored it since I was twelve, and first saw it from the train.

Lastly, it would depend on how I keep from now on. I have stood the winter hitherto with some credit, but the dreadful weather still continues, and I cannot holloa till I am through the wood.

Subject to these numerous and gloomy provisos, I embrace the prospect with glorious feelings.

I write this from bed, snow pouring without, and no circ.u.mstance of pleasure except your letter. That, however, counts for much. I am glad you liked the doggerel: I have already had a liberal cheque, over which I licked my fingers with a sound conscience. I had not meant to make money by these stumbling feet, but if it comes, it is only too welcome in my handsome but impecunious house.

Let me know soon what is to be expected - as far as it does not hang by that inconstant quant.i.ty, my want of health. Remember me to Madam with the best thanks and wishes; and believe me your friend,

ROBERT LOUIS STEVENSON.

Letter: TO MRS. FLEEMING JENKIN

[SKERRYVORE, BOURNEMOUTH, APRIL 1886.]

MY DEAR MRS. JENKIN, - I try to tell myself it is good nature, but I know it is vanity that makes me write.

I have drafted the first part of Chapter VI., Fleeming and his friends, his influence on me, his views on religion and literature, his part at the Savile; it should boil down to about ten pages, and I really do think it admirably good. It has so much evoked Fleeming for myself that I found my conscience stirred just as it used to be after a serious talk with him: surely that means it is good? I had to write and tell you, being alone.

I have excellent news of f.a.n.n.y, who is much better for the change.

My father is still very yellow, and very old, and very weak, but yesterday he seemed happier, and smiled, and followed what was said; even laughed, I think. When he came away, he said to me, 'Take care of yourself, my dearie,' which had a strange sound of childish days, and will not leave my mind.

You must get Litolf's GAVOTTES CELEBRES: I have made another trover there: a musette of Lully's. The second part of it I have not yet got the hang of; but the first - only a few bars! The gavotte is beautiful and pretty hard, I think, and very much of the period; and at the end of it, this musette enters with the most really thrilling effect of simple beauty. O - it's first-rate. I am quite mad over it. If you find other books containing Lully, Rameau, Martini, please let me know; also you might tell me, you who know Bach, where the easiest is to be found. I write all morning, come down, and never leave the piano till about five; write letters, dine, get down again about eight, and never leave the piano till I go to bed. This is a fine life. - Yours most sincerely,

R. L. S.

If you get the musette (Lully's), please tell me if I am right, and it was probably written for strings. Anyway, it is as neat as - as neat as Bach - on the piano; or seems so to my ignorance.

I play much of the Rigadoon but it is strange, it don't come off QUITE so well with me!

[Musical score which cannot be reproduced]

There is the first part of the musette copied (from memory, so I hope there's nothing wrong). Is it not angelic? But it ought, of course, to have the gavotte before. The gavotte is in G, and ends on the keynote thus (if I remember):-

[Musical score which cannot be reproduced]

staccato, I think. Then you sail into the musette.

N.B. - Where I have put an 'A,' is that a dominant eleventh, or what? or just a seventh on the D? and if the latter, is that allowed? It sounds very funny. Never mind all my questions; if I begin about music (which is my leading ignorance and curiosity), I have always to babble questions: all my friends know me now, and take no notice whatever. The whole piece is marked allegro; but surely could easily be played too fast? The dignity must not be lost; the periwig feeling.

Letter: TO THOMAS STEVENSON

[SKERRYVORE, BOURNEMOUTH, March 1886.]